bles out, makes a low bow
to the burly Handel, who, helping him into the chariot, gets in after
him, and they drive off together to Cannons, the duke's mansion at
Edge-ware. There they meet Mr. Addison, the poet Gay, and the witty
Arbuthnot, who have been asked to luncheon. The last number of the
_Spectator_ is on the table, and a brisk discussion soon arises between
Pope and Addison concerning the merits of the Italian opera, in which
Pope would have the better if he only knew a little more about music,
and could keep his temper. Arbuthnot sides with Pope in favor of Mr.
Handel's operas; the duke endeavors to keep the peace. Handel probably
uses his favorite exclamation, 'Vat te tevil I care!' and consumes the
_recherche_ wines and rare viands with undiminished gusto.

"The Magnificent, or the Grand Duke, as he was called, had built himself
a palace for L230,000. He had a private chapel, and appointed Handel
organist in the room of the celebrated Dr. Pepusch, who retired with
excellent grace before one manifestly his superior. On week-days the
duke and duchess entertained all the wits and grandees in town, and on
Sundays the Edgeware Road was thronged with the gay equipages of those
who went to worship at the ducal chapel and hear Mr. Handel play on the
organ.

"The Edgeware Road was a pleasant country drive, but parts of it were
so solitary that highwaymen were much to be feared. The duke was himself
attacked on one occasion; and those who could afford it never traveled
so far out of town without armed retainers. Cannons was the pride of the
neighborhood, and the duke--of whom Pope wrote,

'Thus gracious Chandos is beloved at sight'--

was as popular as he was wealthy. But his name is made still more
illustrious by the Chandos anthems. They were all written at Cannons
between 1718 and 1720, and number in all eleven overtures, thirty-two
solos, six duets, a trio, quartet, and forty-seven choruses. Some of the
above are real masterpieces; but, with the exception of 'The waves of
the sea rage horribly,' and 'Who is God but the Lord?' few of them
are ever heard now. And yet these anthems were most significant in the
variety of the choruses and in the range of the accompaniments; and it
was then, no doubt, that Handel was feeling his way toward the great
and immortal sphere of his oratorio music. Indeed, his first oratorio,
'Esther,' was composed at Cannons, as also the English version of 'Acis
and Galatea.'"

B