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THREE:The style of ladies' dresses in the days of George IV. forms a striking contrast to the fashions of the present day. The ordinary walking dresses were made loosely and simply��not high to the throat, as they were afterwards, nor yet low; the waist, with utter disregard to its natural length, was portioned off by a belt coming almost immediately under the arms, from which descended a long, straight, ungraceful skirt, without any undulation or fulness whatever, reaching to the feet, but short enough to leave them visible. The sleeves were plain and close to the arms, and fastened at the wrist with a frill. The same scantiness of material was observed in the evening dresses; they wore low bodices and short sleeves, with long gloves reaching to the elbow. The trimmings varied according to the taste of the wearer, as in our own day. Small flowers at the bottom of the skirt seem to have been the prevailing style. The hair was generally arranged in short curls round the face; but this was also subject to variations, of course, and some wore it plaited. The head-dress was composed of a bouquet of flowers placed on the top of the head. But the ugliest and the most uncouth part of the dress and the most irreconcilable with modern ideas of taste was the bonnet. The crown was in itself large enough for a hat of reasonable proportions; and from it, the leaf grew out, expanding round the face, in shape somewhat like a coal-scuttle, and trimmed elaborately with feathers and flowers.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 Weissenfels��at whose court his brother-in-law was a valet��who 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 Hamburg��where, 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.

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