and the _Wedding Anthem_ (1736); _Saul_, like _Israel_, incorporates
several movements from a _Te Deum_ by Urio (_fl_. 1660). From this date
onwards until the end of his career Handel systematically drew upon the
works of other musicians.

There has been much controversy over this question, and many attempts have
been made to explain away Handel's "borrowings" so as to leave no moral
stain on his character, which indeed, by all contemporary accounts, was
scrupulously upright. Sedley Taylor (1906) was certainly anxious to clear
Handel's character, but still more concerned to arrive at the exact truth,
and his method of presenting the evidence throws a new light on Handel's
procedure. He showed that in most cases Handel made frequent alterations in
the music which he utilised, almost as if Stradella (to cite one name
out of many) had been a young pupil to whom he was giving a lesson in
composition.

A careful study of these alterations suggests a reason for Handel's action
which seems not to have occurred to any previous writer on the subject. No
one seems to have noticed hitherto that Handel's "borrowings" begin in
1736 on a small scale, and become more frequent in 1737, after which they
develop into a regular habit. It seems only natural therefore to connect
them with Handel's mental collapse; it became acute in the spring of 1737,
but it may well have been approaching in the previous year.

There is no need to go so far as to suggest that Handel suffered from moral
insanity and was incapable of distinguishing between right and wrong; but
it is quite conceivable that his paralytic stroke affected his brain in
such a way that he may sometimes have had a difficulty in starting a
composition. Biographers of Handel have more than once drawn attention to
phases in which he seems to have suffered from the inability to make a