' in the composer's room at the hostelry. One at least of
these trial performers must have carried away an unpleasant experience
of the great man's impetuous temper. 'Can you sing at sight?' was the
question put to each before he was asked to sing, and one broke down
lamentably at the start. 'What de devil you mean!' cried Handel,
snatching the music from his hands. 'Did not you say you could sing at
sight?' 'Yes, sir, I did,' responded the confused singer, 'but not at
_first_ sight!'

The welcome extended to Handel by the people of Dublin was a very warm
one; the performances were a great success, and then we get the first
public mention of the new oratorio. At the 'Musick Hall in Fishamble
Street, Dublin' is to be performed 'Mr. Handel's new grand Oratorio,
called the "Messiah," in which the Gentlemen of the Choirs of both
Cathedrals will assist, with some Concertos on the Organ, by Mr.
Handel.' It was further announced that the proceeds would be devoted
to two charitable institutions, and 'for the Relief of the Prisoners
in the several Gaols.' These latter were miserable persons who had
been imprisoned for debt, and whose sufferings through neglect and
poverty were such as to excite deep compassion. Four hundred pounds
was the sum realised by this performance, which took place on Monday,
April 13, 1742, and no doubt the poor prisoners felt very grateful to
the composer, who had thus put into practice the very precepts which
his sacred work inspired. So great was the success of this first
performance that a second was called for, the announcement of which
contained an earnest appeal to the ladies to leave their hoops behind
them. This singular request was obeyed, with the result that
accommodation was found for one hundred more persons than on the first
occasion.

[Illustration: '"_Did not you say you could sing at sight?_"'
'"_Yes, sir, but not at_ first _sight!_"']

The citizens of Dublin seem to have been very loath to part with
Handel, whilst he, for his part, must have felt in the warmth of his
reception some recompense for the neglect from which he had been made
to suffer in London. The visit was therefore prolonged for many
months, and it was not until March 23, 1743, that a London audience
gathered to witness their first performance of the 'Messiah'. How is
it possible to give, in a few words, an idea of this great work? When
we hear the 'Messiah' performed we are struck by its magnificence and
bea