re borne in coat-armour, dexter and sinister; that is, right and left, expanded or open; and after other manners. A bloody hand in the centre of the escutcheon is the badge of a baronet of Great Britain.

Hand-Breadth, a measure of three inches.

Handel, George Frederic, a most eminent master and composer of music, was born at Hall, a city of Upper Saxony in Germany. His father was a physician and surgeon of that place, and was upwards of 60 years of age when Handel was born. During his infancy young Handel is said to have amused himself with musical instruments, and to have made considerably progress before he was seven years of age, without any instructions. His propensity for music at last became so strong, that his father, who designed him for the study of the civil law, thought proper to forbid him, even at this early period of life, to touch a musical instrument, and would suffer none to remain in his house. Notwithstanding this prohibition, however, Handel found means to get a little clavichord privately conveyed to a room in the uppermost story of the house, to which room he constantly stole when the family were asleep; and thus made such advances in his art, as enabled him to play on the harpsichord. He was first taken notice of by the duke of Saxe Weissenfels on the following occasion. His father went to pay a visit to another son by a former wife, who was valet de chambre to the duke, and resided at his court. Young Handel, being then in his seventh year, earnestly desired permission to go along with him; but being refused, he followed the chaise on foot, and overtook it, the carriage being probably retarded by the roughness of the way. His father at first chid him for his disobedience, but at last took him into the chaise along with him. While he was in the duke's court, he still continued to show the same inclination for music; it was impossible to keep him from harpsichords; and he used sometimes to get into the organ-loft at church, and play after service was over. On one of these occasions, the duke happening to go out later than usual, found something so uncommon in Handel's manner of playing, that he inquired of his valet who it was; and receiving for answer that it was his brother, he desired to see him. This nobleman was so much taken with the musical genius shown by young Handel, that he persuaded his father to let him follow the bent of his inclination. He made the boy a present; and told him, that if he minded his studies, no encouragement should be wanting.

On his return to Hall, Handel was placed under one Zackaw, the organist of the cathedral church; and our young musician was even then able to supply his master's place in his absence. At nine years of age he began to compose church-services for voices and instruments, and continued to compose one such service every week for three years successively. At the age of 14, he far excelled his master, as he himself owned; and he was sent to Berlin, where he had a relation in some place about the court, on whose care and fidelity his parents could rely. The opera was then in a flourishing condition, being encouraged by the grandfather of the late king of Prussia, and under the direction of many eminent persons from Italy, among whom were Buononcini and Attilio. Buononcini, being of a haughty disposition, treated Handel with contempt; but Attilio behaved to him with great kindness, and he profited much by his instructions. His abilities soon recommended him to the king, who frequently made him presents, and at last proposed to send him to Italy under his own patronage, and to take him under his immediate protection as soon as his studies should be completed. But Handel's parents not thinking proper to submit their child to the caprice of the king, declined the offer; upon which it became necessary for him to return to Hall.

Handel having now obtained ideas in music far exceeding everything that could be found in Hall, continued there very unwillingly, and it was resolved to send him to Italy; but as the expense of this journey could not then be spared, he went to Hamburg, where the opera was little inferior to that of Berlin. Soon after his arrival in this city, his father died; and his mother being left in narrow circumstances, her son thought it necessary to procure some scholars, and to accept a place in the orchestra; by which means, instead of being a burden, he became a great relief to her.

At this time, the first harpsichord in Hamburg was played by one Keser, a man who also excelled in composition; but he, having involved himself in some debts, was obliged to abscond. Upon this vacancy, the person who had been used to play the second harpsichord claimed the first by right of succession; but was opposed by Handel, who founded a claim to the first harpsichord upon his superior abilities. After much dispute, in which all who supported or directed the opera engaged with much vehemence, it was decided in favour of Handel; but this good success had almost cost him his life. His antagonist resented the supposed affront so much, that, as they were coming out of the orchestra together, he made a push at Handel's breast with a sword, which must undoubtedly have killed him, had there not fortunately been a music-book in the bosom of his coat.

Handel, though yet but in his 15th year, became composer to the house; and the success of Almirena, his first opera, was so great, that it ran 30 nights without interruption. Within less than a twelvemonth after this, he set two others called Florinda and Norene, which were received with the same applause. During his stay here, which was about four or five years, he also composed a considerable number of sonatas, which are now lost. Here his abilities procured him the acquaintance of many persons of note, particularly the prince of Tuscany, brother to John Gaston de Medici the grand duke. This prince pressed him to go with him to Italy, where he assured him that no convenience would be wanting; but this offer Handel thought proper to decline, being resolved not to give up his independency for any advantage that could be offered him.

In the 19th year of his age, Handel took a journey to Italy on his own account; where he was received with the greatest kindness by the prince of Tuscany, and had at all times access to the palace of the grand duke. Handel, duke. His Serene Highness was impatient to have something composed by so great a master; and notwithstanding the difference between the style of the Italian music and the German, to which Handel had hitherto been accustomed, he set an opera called Rodrigo, which pleased so well that he was rewarded with 100 sequins and a service of plate. After staying about a year in Florence, he went to Venice, where he is said to have been first discovered at a masquerade. He was playing on a harpsichord in his visor, when Scarlatti, a famous performer, cried out, that the person who played could be none but the famous Saxon or the devil. But a story similar to this is reported of many eminent persons whose abilities have been discovered in disguise.

Here he composed his opera called Agrippina, which was performed 27 nights successively, with the most extravagant applause.

From Venice our musician proceeded to Rome, where he became acquainted with Cardinal Ottoboni and many other dignitaries of the church, by which means he was frequently attacked on account of his religion; but Handel declared he would live and die in the religion in which he had been educated, whether it was true or false. Here he composed an oratorio called Resurrectione, and 150 cantatas, besides some sonatas, and other music. Ottoboni also contrived to have a trial of skill between him and Dominici Scarlatti, who was considered as the greatest master on that instrument in Italy. The event is differently reported. Some say that Scarlatti was victorious, and others give the victory to Handel; but when they came to the organ, Scarlatti himself ascribed the superiority to Handel.

From Rome, Handel went to Naples; after which, he paid a second visit to Florence; and at last, having spent six years in Italy, set out for his native country. In his way thither, he was introduced at the court of Hanover with so much advantage by the baron Kilmanseck, that his Electoral Highness (afterwards George I.) offered him a pension of 1500 crowns a-year as an inducement to continue there. This generous offer he declined on account of his having promised to visit the court of the Elector Palatine, and likewise to come over to England in compliance with the repeated invitations of the duke of Manchester. The elector, however, being made acquainted with this objection, generously ordered him to be told, that his acceptance of the pension should neither restrain him from his promise nor resolution: but that he should be at full liberty to be absent a year or more if he chose it, and to go wherever he thought fit. Soon after, the place of master of the chapel was bestowed upon Handel; and our musician having visited his mother, who was now extremely aged and blind, and his old master Zackaw, and staid some time at the court of the Elector Palatine, set out for England, where he arrived in 1710.

At that time operas were a new entertainment in England, and were conducted in a very absurd manner: but Handel soon put them on a better footing; and set a drama called Rinaldo, which was performed with uncommon success. Having staid a year in England; he returned to Hanover; but in 1712 he again came over to England; and the peace of Utrecht being concluded a few months afterwards, he composed a grand Te Deum and Jubilate on the occasion. He now found the nobility very desirous that he should resume the direction of the opera-house in the Hay-market; and the queen having added her authority to their solicitations, and conferred on him a pension of 200l. a-year, he forgot his engagements to the elector of Hanover, and remained in Britain till the death of the queen in 1714. On the arrival of King George I. Handel, conscious of his ill behaviour, durst not appear at court; but he was extricated from his dilemma by the baron Kilmanseck. Having engaged several of the English nobility in his behalf, the baron persuaded the king to a party of pleasure on the water. Handel was apprised of the design, and ordered to prepare some music for the occasion. This he executed with the utmost attention, and on the day appointed it was performed and conducted by himself. The king with pleasure and surprise inquired whose it was, and how the entertainment came to be provided without his knowledge. The baron then produced the delinquent; and asked leave to present him to his majesty as one too sensible of his fault to attempt an excuse, but sincerely desirous to atone for it. This intercession was accepted. Handel was restored to favour, his water music was honoured with the highest approbation, and the king added a pension of 200l. a-year to that formerly bestowed on him by Queen Anne; which he soon after increased to 400l. on his being appointed to teach the young princesses music.

In the year 1715, Handel composed his opera of Almide; but from that time to the year 1720 he composed only Tesco and Pastor Fido, Buonocini and Attilio being then composers for the operas. About this time a project was formed by the nobility for erecting a kind of academy at the Hay Market, with a view to secure to themselves a constant supply of operas to be composed by Handel, and performed under his direction. No less than 50,000l. was subscribed for this scheme, of which the king himself subscribed 1000l., and it was proposed to continue the undertaking for 14 years. Handel went over to Dresden, in order to engage singers, and returned with Senesino and Duranti. Buonocini and Attilio had still a strong party in their favour, but not equal to that of Handel; and therefore in 1720 he obtained leave to perform his opera of Radamisto. The house was so crowded, that many fainted through excessive heat; and 40s. were offered by some for a seat in the gallery, after having in vain attempted to get one elsewhere. The contention, however, still ran very high between Handel's party and that of the two Italian masters; and at last it was determined that the rivals should be jointly employed in making an opera, in which each should take a distinct act, and he who by the general suffrage was allowed to have given the best proof of his abilities should be put in possession of the house. This opera was called Musio Scavola, and Handel set the last act. It is said that Handel's superiority was owned even in the overture before it; but when the act came to be performed, there remained no pretence of doubt or dispute. The academy was now therefore firmly established, and Handel conducted it for nine years with great success; but about that time an irreconcilable enmity took place between Handel himself and Senesino. Senesino accused Handel of tyranny, and Handel accused Senesino of rebellion. The merits of the quarrel are not known. Handel, known; the nobility, however, became mediators for some time; and having failed in that good design, they became parties in the quarrel. Handel was resolved to dismiss Senesino, and the nobility seemed also resolved not to permit him to do so. The haughtiness of Handel's temper would not allow him to yield, and the affair ended in the total dissolution of the academy.

Handel now found that his abilities, great as they were, could not support him against the powerful opposition he met with. After the dismission of Senesino, his audience sensibly dwindled away, and Handel entered into an agreement with Mr Heidegger to carry on operas in conjunction with him. New singers were engaged from Italy; but the offended nobility raised a subscription against him, to carry on operas in the playhouse in Lincoln's-Inn fields. Handel bore up four years against this opposition; three in partnership with Heidegger, and one by himself; but though his musical abilities were superior to those of his antagonists, the astonishing powers of the voice of Farinelli, whom the opposite party had engaged, determined the victory against him. At last Handel, having spent all he was worth in a fruitless opposition, thought proper to desist. His disappointment had such an effect upon him, that for some time he was disordered in his understanding, and at the same time his right arm was rendered useless by a stroke of the palsy. In this deplorable situation, it was thought necessary that he should go to the baths of Aix-la-Chapelle; and from them he received such extraordinary and sudden relief, that his cure was looked upon by the nuns as miraculous.

In 1736, Handel again returned to England; and soon after his return his Alexander's Feast was performed with applause at Covent Garden. The success and splendour of the Hay Market was by this time so much reduced by repeated mismanagements, that Lord Middlesex undertook the direction of it himself, and once more applied to Handel for composition. He accordingly composed two operas called Furomondo, and Alessandro Severo, for which in 1737 he received 100l. In 1738, he received 150l. from a single benefit, and nothing seemed wanting to retrieve his affairs, excepting such concessions on his part as his opponents had a right to expect. These concessions, however, he could not be prevailed upon to make; and that he might no longer be under obligations to act as he was directed by others, he refused to enter into any engagements upon subscription. After having tried a few more operas at Covent Garden without success, he introduced another species of music called oratorios, which he thought better suited to the native gravity of an English audience. But as the subjects of these pieces were always taken from sacred history, it was by some thought to be a profanation to set them to music and perform them at a playhouse. In consequence of this prejudice, the oratorios met with very indifferent success; and in 1741 Mr Handel found his affairs in such a bad situation, that he was obliged to quit England, and go to Dublin.

He was received in Ireland in a manner suitable to his great merit; and his performing his oratorio called the Messiah, for the benefit of the city prison, brought him into universal favour. In nine months' time he had brought his affairs into a better situation; and on his return to England in 1742, he found the public much more favourably disposed. His oratorios were now performed with great applause: his Messiah, which before had been but coldly received, became a favourite performance; and Handel, with a generous humanity, determined to perform it annually for the benefit of the foundling hospital, which at that time was only supported by private benefactions. In 1743, he had a return of his paralytic disorder; and in 1751 became quite blind by a gutta serena in his eyes. This last misfortune for some time sunk him into the deepest despondency; but at last he was obliged to acquiesce in his situation, after having without any relief undergone some very painful operations. Finding it now impossible to manage his oratorios alone, he was assisted by Mr Smith, who at his request frequently played for him, and conducted them in his stead; and with this assistance they were continued till within eight days of his death. During the latter part of his life, his mind was often disordered; yet at times it appears to have resumed its full vigour, and he composed several songs, choruses, &c. which from their dates may be considered almost as the last sounds of his dying voice. From about October 1753 his health declined very fast; his appetite, which had been remarkably keen, and which he had gratified to a great degree, left him; and he became sensible of the approach of death. On the 6th of April 1759, his last oratorio was performed, at which he was present, and died on the 14th of the same month. On the 20th he was buried by the right reverend Dr Pearce, bishop of Rochester, in Westminster abbey; where, by his own order, and at his own expense, a monument was erected to his memory.

With regard to the character of this most eminent musician, he is universally allowed to have been a great epicure: In his temper he was very haughty, but was seldom or never guilty of mean actions. His pride was uniform: he was not by turns a tyrant and a slave. He appears to have had a most extravagant love for liberty and independence; insomuch, that he would, for the sake of liberty, do things otherwise the most prejudicial to his own interest. He was liberal even when poor, and remembered his former friends when he was rich. His musical powers can perhaps be best expressed by Arbuthnot's reply to Pope, who seriously asked his opinion of him as a musician: "Conceive (said he) the highest you can of his abilities, and they are much beyond anything you can conceive."

Commemoration of Handel; a musical exhibition instituted some years ago, and the grandest of the kind ever attempted in any nation. Of the rise and progress of the design, together with the manner in which the first celebration was executed, an accurate and authentic detail is given, as might be expected, by Dr Burney in the 4th and last volume of his History of Music, from which the following account is extracted.

"In a conversation between Lord Viscount Fitzwilliam, Sir Watkin Williams Wynn, and Joah Bates, Esq. commissioner of the victualling-office, the beginning of last year, 1783, at the house of the latter; after remarking that the number of eminent musical performers of all kinds, both vocal and instrumental, Handel, with which London abounded, was far greater than in any other city of Europe; it was lamented that there was no public periodical occasion for collecting and consolidating them into one band; by which means a performance might be exhibited on so grand and magnificent a scale as no other part of the world could equal.

The birth and death of Handel naturally occurred to three such enthusiastic admirers of that great master; and it was immediately recollected, that the next year (1784) would be a proper time for the introduction of such a custom, as it formed a complete century since his birth, and an exact quarter of a century since his decease.

"The plan was soon after communicated to the governors of the Musical Fund, who approved it, and promised their assistance. It was next submitted to the directors of the concert of Ancient Music; who, with an alacrity which does honour to their zeal for the memory of the great artist Handel, voluntarily undertook the trouble of managing and directing the celebrity. At length, the design coming to the knowledge of the king, it was honoured with his majesty's sanction and patronage. Westminster Abbey, where the bones of the great musician were deposited, was thought the properest place for the performance; and application having been made to the bishop of Rochester for the use of it, his lordship finding that the scheme was honoured with the patronage of his majesty, readily consented; only requesting, as the performance would interfere with the annual benefit for the Westminster Infirmary, that part of the profits might be appropriated to that charity, as an indemnification for the loss it would sustain. To this the projectors of the plan acceded; and it was afterwards settled, that the profits of the first day's performance should be equally divided between the Musical Fund and the Westminster Infirmary; and those of the subsequent days be solely applied to the use of that fund which Handel himself so long helped to sustain, and to which he not only bequeathed a thousand pounds, but which almost every musician in the capital annually contributes his money, his performance, or both, to support. Application was next made to Mr James Wyatt, the architect, to furnish plans for the necessary decorations of the abbey; drawings of which having been shown to his majesty, were approved. The general idea was to produce the effect of a royal musical chapel, with the orchestra terminating one end, and the accommodation for the royal family, the other. The arrangement of the performance of each day was next settled; and it was at his majesty's instigation that the celebrity was extended to three days instead of two, which he thought would not be sufficient for the display of Handel's powers, or fulfilling the charitable purposes to which it was intended to devote the profits. It was originally intended to have celebrated this festival on the 20th, 22d, and 23d of April; and the 20th being the day of the funeral of Handel, part of the music was, in some measure, so selected as to apply to that incident. But, in consequence of the sudden dissolution of parliament, it was thought proper to defer the festival to the 26th, 27th, and 29th of May, which seems to have been for its advantage; as many persons of tender constitutions, who ventured to go to Westminster Abbey in warm weather, would not have had the courage to go thither in cold. Impressed with a reverence for the memory of Handel, no sooner was the project known, but most of the practical musicians in the kingdom eagerly manifested their zeal for the enterprise; and many of the most eminent professors, waving all claims to precedence in the band, offered to perform in any subordinate station in which their talents could be most useful.

"In order to render the band as powerful and complete as possible, it was determined to employ every species of instrument that was capable of producing grand effects in a great orchestra and spacious building. Among these the sacbut, or double trumpet, was sought; but so many years had elapsed since it had been used in this kingdom, that neither the instrument, nor a performer upon it, could easily be found. It was, however, discovered, after much useless inquiry, not only here, but by letter, on the continent, that in his majesty's military band there were six musicians who played the three several species of sacbut, tenor, base, and double base.

"The double bassoon, which was so conspicuous in the orchestra, and powerful in its effect, is likewise a tube of 16 feet. It was made, with the approbation of Mr Handel, by Stainsby the flute-maker, for the coronation of his late majesty George II. The ingenious Mr Lampe, author of the justly admired music of The Dragon of Wantley, was the person intended to perform on it; but, for want of a proper reed, or for some other cause, at present unknown, no use was made of it at the time; nor indeed, though it has been often attempted, was it ever introduced into any band in England, till now, by the ingenuity and perseverance of Mr Ashby of the Guards.

"The double-base kettle-drums were made from models of Mr Ashbridge, of Drury Lane orchestra, in copper, it being impossible to procure plates of brass large enough. The Tower drums, which, by permission of his grace the duke of Richmond, were brought to the abbey on this occasion, are those which belong to the ordnance stores, and were taken by the duke of Marlborough at the battle of Malplaquet in 1709. These are hemispherical, or a circle divided; but those of Mr Ashbridge are more cylindrical, being much longer, as well as more capacious, than the common kettle-drum; by which he accounts for the superiority of their tone to that of all other drums. These three species of kettle-drums, which may be called tenor, base, and double base, were an octave below each other.

"The excellent organ, erected at the west end of the abbey for the commemoration performances only, is the workmanship of the ingenious Mr Samuel Green in Islington. It was fabricated for the cathedral of Canterbury; but before its departure for the place of its destination, it was permitted to be opened in the capital on this memorable occasion. The keys of communication with the harpsichord, at which Mr Bates the conductor was seated, extended 19 feet from the body of the organ, and 20 feet 7 inches below the perpendicular of the set of keys by which it is usually played. Similar keys were first contrived in this country for Handel himself at his oratorios; but to convey Handel them to so great a distance from the instrument, without rendering the touch impractically heavy, required uncommon ingenuity and mechanical resources.

"In celebrating the disposition, discipline, and effects of this most numerous and excellent band, the merit of the admirable architect, who furnished the elegant designs for the orchestra and galleries, must not be forgotten; as, when filled, they constituted one of the grandest and most magnificent spectacles which imagination can delineate. All the preparations for receiving their majesties, and the first personages in the kingdom, at the east end; upwards of 500 musicians at the west; and the public in general, to the number of between 3000 and 4000 persons, in the area and galleries; so wonderfully corresponded with the style of architecture of this venerable and beautiful structure, that there was nothing visible either for use or ornament, which did not harmonize with the principal tone of the building, and which may not metaphorically have been said to have been in perfect tune with it. But, besides the wonderful manner in which this construction exhibited the band to the spectators, the orchestra was so judiciously contrived, that almost every performer, both vocal and instrumental, was in full view of the conductor and leader; which accounts, in some measure, for the uncommon ease with which the performers confess they executed their parts.

"At the east end of the aisle, just before the back of the choir-organ, some of the pipes of which were visible below, a throne was erected in a beautiful Gothic style, corresponding with that of the abbey, and a centre box, richly decorated and furnished with crimson satin, fringed with gold, for the reception of their majesties and the royal family: on the right hand of which was a box for the bishops, and on the left, one for the dean and chapter of Westminster; immediately below these two boxes were two others, one on the right for the families and friends of the directors, and the other for those of the prebendaries of Westminster. Immediately below the king's box was placed one for the directors themselves, who were all distinguished by white wands tipped with gold, and gold medals, struck on the occasion, appending from white ribbons. These their majesties likewise condescended to wear at each performance. Behind, and on each side of the throne, there were seats for their majesties suite, maids of honour, grooms of the bed-chamber, pages, &c.—The orchestra was built at the opposite extremity, ascending regularly from the height of seven feet from the floor to upwards of forty from the base of the pillars, and extending from the centre to the top of the side aisle.—The intermediate space below was filled up with level benches, and appropriated to the early subscribers. The side aisles were formed into long galleries ranging with the orchestra, and ascending so as to contain 12 rows on each side; the fronts of which projected before the pillars, and were ornamented with festoons of crimson morine.—At the top of the orchestra was placed the occasional organ, in a Gothic frame, mounting to, and mingling with, the saints and martyrs represented in the painted glass on the west window. On each side of the organ, close to the window, were placed the kettle-drums described above. The choral bands were principally placed in view of Mr Bates, on steps seemingly ascending into the clouds, in each of the side aisles, as their termination was invisible to the audience. The principal singers were ranged in the front of the orchestra, as at oratories, accompanied by the choirs of St Paul, the abbey, Windsor, and the chapel royal.

"Few circumstances will perhaps more astonish veteran musicians, than to be informed, that there was but one general rehearsal for each day's performance: an indisputable proof of the high state of cultivation to which practical music is at present arrived in this country; for if good performers had not been found ready made, a dozen rehearsals would not have been sufficient to make them so. Indeed, Mr Bates, in examining the list of performers, and inquiring into their several merits, suggested the idea of what he called a drilling rehearsal, at Tottenham-street concert room, a week before the performance; in order to hear such volunteers, particularly chorus singers, as were but little known to himself, or of whose abilities his assistant was unable to speak with certainty. At this rehearsal, though it consisted of 120 performers, not more than two of that number were desired not to attend any more.

"At the general rehearsal in the abbey, mentioned above, more than 500 persons found means to obtain admission, in spite of every endeavour to shut out all but the performers; for fear of interruption, and perhaps of failure in the first attempts at incorporating and consolidating such a numerous band, consisting not only of all the regulars, both native and foreign, which the capital could furnish, but of all the irregulars, that is, dilettanti, and provincial musicians of character, who could be mustered, many of whom had never heard or seen each other before. This intrusion, which was very much to the dissatisfaction of the managers and conductor, suggested the idea of turning the eagerness of the public to some profitable account for the charity, by fixing the price of admission to half a guinea for each person.

"But, besides the profits derived from subsequent rehearsals, the consequences of the first were not without their use; for the pleasure and astonishment of the audience, at the small mistakes, and great effects of this first experiment, which many had condemned by anticipation, were soon communicated to the lovers of music throughout the town, to the great increase of subscribers and solicitors for tickets. For though the friends of the directors were early in subscribing, perhaps from personal respect, as much as expectation of a higher musical repast than usual; yet the public in general did not manifest great eagerness in securing tickets till after this rehearsal, Friday May 21, which was reported to have astonished even the performers themselves by its correctness and effects. But so interesting did the undertaking become by this favourable rumour, that from the great number of tickets it was found necessary to close the subscription.

"Many families, as well as individuals, were attracted to the capital by this celebrity; and it was never remembered to have been so full, except at the coronation of his present majesty. Many of the performers came, unsolicited, from the remotest parts of the kingdom at their own expense; some of them, however, were afterwards reimbursed, and had a small gratuity in consideration of the time they were kept from..." Foreigners, particularly the French, must be much astonished at so numerous a band moving in such exact measure, without the assistance of a coryphaeus to beat the time, either with a roll of paper, or a noisy baton or truncheon. Rousseau says, that 'the more time is beaten, the less it is kept;' and it is certain, that when the measure is broken, the fury of the musical general or director, increasing with the disobedience and confusion of his troops, he becomes more violent, and his strokes and gesticulations more ridiculous, in proportion to their disorder.

As this commemoration is not only the first instance of a band of such magnitude being assembled together, but of any band at all numerous, performing in a similar situation, without the assistance of a conductor to regulate the measure, the performances in Westminster abbey may be safely pronounced no less remarkable for the multiplicity of voices and instruments employed, than for accuracy and precision. When all the wheels of that huge machine, the orchestra, were in motion, the effect resembled clock-work in every thing but want of feeling and expression. And as the power of gravity and attraction in bodies is proportioned to their mass and density, so it seems as if the magnitude of this band had commanded and impelled adhesion and obedience beyond that of any other of inferior force. The pulsations in every limb, and ramifications of veins and arteries in an animal, could not be more reciprocal, isochronous, and under the regulation of the heart, than the members of this body of musicians under that of the conductor and leader. The totality of sound seemed to proceed from one voice and one instrument; and its powers produced not only new and exquisite sensations in judges and lovers of the art, but were felt by those who never received pleasure from music before. These effects, which will be long remembered by the public, perhaps to the disadvantage of all other choral performances, run the risk of being doubted by all but those who heard them, and the present description of being pronounced fabulous, if it should survive the present generation."