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ONE:Such was the state of affairs at home and abroad during the recess of 1829. The Government hoped that by the mollifying influence of time the rancour of the Tory party would be mitigated, and that by the proposal of useful measures the Whig leaders would be induced to give them their support, without being admitted to a partnership in power and the emoluments of office. But in both respects they miscalculated. The Duke met Parliament again on the 4th of February, 1830. It was obvious from the first that neither was Tory rancour appeased nor Whig support effectually secured. The Speech from the Throne, which was delivered by commission, was unusually curt and vague. It admitted the prevalence of general distress. It was true that the exports in the last year of British produce and manufacture exceeded those of any former year; but, notwithstanding this indication of an active commerce, both the agricultural and the manufacturing classes were suffering severely in "some parts" of the United Kingdom. There was no question about the existence of distress; the only difference was as to whether it was general or only partial. In the House of Lords the Government was attacked by Earl Stanhope, who moved an amendment to the Address. He asked in what part of the country was it that the Ministers did not find distress prevailing? He contended that the kingdom was in a state of universal distress, likely to be unequalled in its duration. All the great interests��agriculture, manufactures, trade, and commerce��had never at one time, he said, been at so low an ebb. The Speech ascribed the distress to a bad harvest. But could a bad harvest make corn cheap? It was the excessive reduction of prices which was felt to be the great evil. If they cast their eyes around they would see the counties pouring on them spontaneously every kind of solicitation for relief; while in towns, stocks of every kind had sunk in value forty per cent. The depression, he contended, had been continuous and universal ever since the Bank Restriction Act passed, and especially since the suppression of small notes took effect in the beginning of the previous year. Such a universal and continued depression could be ascribed only to some cause pressing alike upon all branches of industry, and that cause was to be found in the enormous contraction of the currency, the Bank of England notes in circulation having been reduced from thirty to twenty millions, and the country bankers' notes in still greater proportion. The Duke of Wellington, in reply, denied that the Bank circulation was less than it had been during the war. In the former period it was sixty-four millions, including gold and silver as well as paper. In 1830 it was sixty-five millions. It was an unlimited circulation, he said, that the Opposition required; in other words, it was wished to give certain individuals, not the Crown, the power of coining in the shape of paper, and of producing a fictitious capital. Capital was always forthcoming[308] when it was wanted. He referred to the high rents paid for shops in towns, which were everywhere enlarged or improved, to "the elegant streets and villas which were springing up around the metropolis, and all our great towns, to show that the country was not falling, but improving." After the Duke had replied, the supporters of the amendment could not muster, on a division, a larger minority than nine. In the House of Commons the discussion was more spirited, and the division more ominous of the fate of the Ministry. The majority for Ministers was only fifty-three, the numbers being 158 to 105. In the minority were found ultra-Tories, such as Sir Edward Knatchbull, who had proposed an amendment lamenting the general distress, Mr. Bankes, Mr. Sadler, and General Gascoigne, who went into the same lobby with Sir Francis Burdett, Lord John Russell, Mr. Brougham, Mr. Hume, and Lord Althorp, representing the Whigs and Radicals; while Lord Palmerston, Mr. Huskisson, Mr. Charles Grant, and Sir Stratford Canning represented the Canning party. No such jumble of factions had been known in any division for many years.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. TWO:

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