THREE:Louis was a conscientious man, who was sincerely desirous of studying the comfort and prosperity of the people over whom he was placed. But the system of Buonaparte went to extinguish the welfare of Holland altogether. To insist upon the Dutch shutting out the manufactures of Great Britain, upon which the large trade of Holland subsisted, was to dry up the very means by which Holland had made itself a country from low-lying sea-marshes and sand-banks. Louis knew this, and winked, as much as possible, at the means by which the trade of his subjects was maintained with England. This produced extreme anger on the part of Napoleon, who used terms towards his brother of rudeness and even brutality. Relations between Louis, and his queen, Hortense, the daughter of Josephine, had grown unbearable. In fact, they had made a mutual, though not a legal separation; and in 1809 they each demanded that a legal separation should take place. There was such an intimate connection between Buonaparte and Queen Hortense that Louis deemed it a matter that concerned his honour as well as his quiet. But Napoleon bluntly refused to allow such a legal dissolution of the marriage, and insulted his brother by calling him an ideologista man who had spoiled himself by reading Rousseau. He did not even return a written answer to Louis's demand, but satisfied himself with a verbal one. Champagny, the Duke of Cadore, who had succeeded Talleyrand as Minister, stated in a report that the situation of Louis was become critical from the conflicting sentiments in his heart of duties towards France and duties towards his own subjects; and Buonaparte intimated his intention to recall Louis to France, and to unite Holland, as a province, to the empire. Louis, on his part, intimated that unless the Dutch were allowed to avoid universal ruin by the prosecution of their commerce, he would abdicate. Buonaparte had already annexed Zealand to France, and Louis displayed a remarkable indifference to retaining the remainder. On this, Buonaparte seemed to pause in his menaces; but for all that he did not suspend his resolution to compel an utter exclusion of British goods. The Dutch, who esteemed Louis for his honest regard for their rights, were alarmed at the idea of losing him; for it could only be for Holland to be united to France, and put under the most compulsory system. For some time they and Louis contemplated laying the whole country under water, and openly repudiating the influence of Napoleon. But cool reflection convinced them that such resistance was useless; and in March of this year Louis submitted to a treaty by which the Continental system was to be strictly enforced. Not only Zealand, but Dutch Brabant and the whole course of the Rhine on both its banks were made over to France. Louis signed the treaty on the 1st of July, but significantly added, "as far as possible."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.
