, they set out together in the coach, with the evident
intention of enjoying themselves. They had a poulterer as
fellow-traveller, who seems to have been quite of the same opinion,
and as they journeyed to Luebeck they told stories, composed 'double
fugues,' (which it is to be hoped the poulterer appreciated), and
altogether had a very merry time. On reaching their destination they
paid a round of visits to the organs and harpsichords in the town,
trying them all in succession, and it was then arranged between them
that Handel should compete only on the organ and Mattheson on the
harpsichord. Matters, however, were not destined to be carried to the
point of actual trial, for they suddenly discovered that the
successful competitor would be required to wed the daughter of the
retiring organist, and as neither musician contemplated taking so
serious a step, they promptly retreated to Hamburg without even
seeking an audience of the would-be bride!

The self-will and determination which marked the character of Handel
as a child clung to him through life, and not even the closest ties of
friendship prevented his obstinate temper from asserting itself
whenever occasion arose. Handel's temper, opposed to Mattheson's
vanity, gave rise to a quarrel between the two friends which might
have been attended by very serious consequences. Mattheson had written
an opera called 'Cleopatra,' in which he himself took the part of
Antony, and it had been his custom after the death of this character
to take his place at the harpsichord and conduct the rest of the
opera. This had been the arrangement with the former conductor, and
Mattheson did not doubt that it would be adhered to when Handel
presided at the pianoforte. But Mattheson had clearly reckoned without
his host, for when the actor-composer, having departed this life on
the stage, suddenly reappeared through the orchestra door and walked
up to Handel's side with the request that the latter would yield his
place to him, he was met by a flat refusal on the part of the
conductor in possession. Possibly Handel may have been struck by the
absurdity of a personage whose decease had only a few moments before
been witnessed by the audience desiring to reassume his mortal dress
in the orchestra. Mattheson's vanity, on the other hand, was no doubt
deeply injured by his being made to look foolish, and he left the
theatre in a rage.

At the conclusion of the piece Handel found his friend awaiti