expect of Pepusch, whose devotion to antiquarian learning aroused the
amusement rather than the admiration of his contemporaries. Handel was at
any rate keenly interested in painting, like Corelli, and the third codicil
to his will, dated August 4, 1757, mentions two landscapes by Rembrandt,
one a view of the Rhine, which he bequeathed to one of the Granvilles from
whom he had received both as a gift.

Another characteristic of Handel's for which his early biographers are
hard put to find an excuse was his enormous appetite for food and drink,
satirised by his once intimate friend the painter Goupy in a well-known
print called "The Charming Brute," in which Handel is represented with the
head of a pig, seated at an organ, with various comestibles disposed at his
feet. In this connexion it may be noted that for all his gluttony Handel
was never accused of drunkenness; if he exceeded in the pleasures of the
table, it was as a gourmet and a connoisseur. Yet it is recorded that he
never led an extravagant life, and apart from this particular weakness
he lived as simply in the days of his wealth as in those of his poverty.
Generosity to those in distress was at all times characteristic of him.

Although Handel became a naturalised British subject, none of his
contemporaries would ever have dreamed of regarding him as an Englishman,
or as a composer of English music. Burney's account of the commemoration
festival of 1784 may be regarded as an official panegyric, but even in
that he goes no further than to say that Handel, "though not a native
of England, spent the greatest part of his life in the service of its
inhabitants, improving our taste, and introducing among us so many species
of musical excellence, that, during more than half a century, while
sentiment, not fashion, guided our applause, we neither wanted nor wished
for any other standard. Indeed, his works were so long the models of
perfection in this country, that they may be said to have formed our