FORE:The excitement among the public, as this resolution became known, was intense, and large crowds assembled in front of the baronet's house, applauding, and shouting "Burdett for ever!" In their enthusiasm they compelled all passengers to take off their hats, and shout too. But they did not stop here. On such occasions a rabble of the lowest kind unites itself to the real Reformersand the mob began to insult persons of opposite principles and to break the windows of their houses. The Earl of Westmoreland, Lord Privy Seal, was recognised, and, as well as others of the same political faith, pelted with mud. The windows of Mr. Yorke, as the originator of the acts of the Commons, were quickly broken, and, in rapid succession, those of Lord Chatham, amid loud shouts of "Walcheren!" of Sir Robert Peel, the Duke of Montrose, Lord Castlereagh, Lord Westmoreland, Lord Wellesley, Mr. Wellesley Pole, Sir John Anstruther, and others. The Horse Guards were called out, and dispersed the rioters. The next day the serjeant-at-arms made his way into Sir Francis Burdett's house, and presented the Speaker's warrant for his arrest; but Sir Francis put the warrant in his pocket without looking at it, and a Mr. O'Connor, who was present, led the serjeant-at-arms down stairs, and closed the door on him. A troop of Life Guards and a company of Foot Guards were then ordered to post themselves in front of Sir Francis's house, and at night it was found necessary to read the Riot Act, and then the Guards were ordered to clear the street, which they did. Whilst this was doing, Sir Francis watched the proceeding from the windows, and was repeatedly cheered by the mob. Whilst thus besieged, he was visited by Lord Cochrane, the Earl of Thanet, Whitbread, Coke of Norfolk, Lord Folkestone, Colonel Wardle, Major Cartwright, and other Radical Reformers. Some of these gentlemen thought enough had been done to establish a case for a trial of the right of the House of Commons, and advised Sir Francis to yield to the Speaker's warrant. But Sir Francis addressed a letter to the sheriffs of London, informing them that an attack was made upon his liberty, by an instrument which he held to be decidedly illegal, and calling upon them to protect both him and the other inhabitants of the bailiwick from such violence. In this dilemma, the Premier, Mr. Perceval, advised that the serjeant-at-arms should lay the case before the Attorney-General, Sir Vicary Gibbs, which he did; but the reply of Sir Vicary only created more embarrassment, for he was doubtful whether, should any person be killed in enforcing the Speaker's warrant, it would not be held to be murder, and whether if the serjeant-at-arms were killed, a charge of murder would not issue against the perpetrator. The sheriffs, who were themselves strong Reformers, laid the letter of Sir Francis before the Speaker and before Mr. Ryder, the new Home Secretary, who counselled them to give their aid in enforcing the warrant. But these gentlemen proceeded to the house of Sir Francis Burdett, and passed the night with him for his protection.The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfelsat whose court his brother-in-law was a valetwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburgwhere, in 1705, he brought out his "Almira"he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.
Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Vestibulum tortor quam, feugiat vitae.
