ted from the studies of a person not at all
acquainted with the graces and elegancies of the Italians in their
compositions for instruments. To this it must be attributed that the
sonatas of Humphries were the common practice of such small
proficients in harmony as in his time were used to recreate themselves
with music at alehouse clubs and places of vulgar resort in the
villages adjacent to London; of these there were formerly many, in
which sixpence, at most, was the price of admission." We have quoted
this passage at length, because it indirectly confirms our statement
concerning English music of this period. If Hawkins had had anything
better to talk about, he would not have wasted space on the music of
alehouses and "places of vulgar resort." It may, however, be asked
whether Hawkins' report of Humphries' music is trustworthy. Now,
although the sonatas offer nothing of special interest, we may
certainly venture to say that one does not hear such well-written
melodious strains in or near alehouses of the present day. The sonatas
consist, for the most part, of four short movements. First, a slow
introduction, then an Allegro somewhat in the Corelli style. An
Adagio, often very short, separates this from the final movement, an
Allegro in binary form, a Minuet, or a Gigue. This "Humphries" musical
landmark is the only one we have to offer our readers between Purcell
and Dr. Arne. But before proceeding to notice the sonatas of the
latter, let us say something, if not of English music, yet of music in
England during the first half of the eighteenth century.

Of the influence of Corelli we have already made mention. That
influence was materially strengthened by the two celebrated
violinist-composers, Veracini and Geminiani, who came to London in
1714; the former only paid a short visit; the latter made England his
home. Then a greater composer than the two just mentioned had already
arrived in London; this was Handel, whose Rinaldo had been produced
with wonderful success on the 24th February 1710. The genius of Handel
triumphed over all rivals, whether English or foreign, for well-nigh
half a century; and this fact alone explains the decline of English
art. But there was another strong influence which specially affected
harpsichord music: the Lessons of Domenico Scarlatti had made their
way throughout Europe. Thomas Roseingrave, who went to Italy in 1710,
became acquainted with the composer, and on his return pleaded th