It may not be unacceptable to our readers to add a few particulars of one of the greatest composers that ever existed; we allude to the eminently illustrious GEORGE FREDERICK HANDEL, a name dear to science, and entitled to the grateful veneration of every amateur in this divine art. He was born at Halle, in Upper Saxony, on the 24th of February 1684. Scarcely was he able to speak, before he articulated musical sounds. His father was a professor of the healing art as a surgeon and physician, then upwards of sixty, who intended his son for the study of the law. Grieved at the child’s predeliction, he banished all musical instruments from his house. But the spark which nature had kindled in his bosom was not to be extinguished by the mistaken views of a blind parent. The child by some means or other contrived to get a little claverchord into a garret, where, applying himself after the family had retired to rest, he discovered means to produce both melody and harmony. Before he was seven years of age, the Duke of Weissenfells by accident discovered his genius, and prevailed on his father to cherish his inclination. He was accordingly placed with Zachan, organist of the cathedral of Halle; when, from nine to twelve years of age, he composed a church service every week. Losing his father whilst he was in that city, he thought he could best support his mother by repairing to Hamburgh, where he soon attracted general notice. This wonder of the age was then only fourteen, when he composed “Almeria,” his first opera. Having quitted Hamburgh, he travelled for six years in Italy, where, at both Florence and Rome, he excited much attention: at both which places he produced new operatic performances. In that clime of the harmonious muse, he was introduced to, and cultivated the friendship of, Dominico, Scarlatti, Gaspurini, and Zotti, with other eminent scientific characters. He was particularly caressed and patronised by Cardinal Ottoboni, in whose circle he became acquainted with the elegant and natural Corelli. It was here he composed the sonata “Il trionfo del tempo,” the original score of which is now in the Royal Collection. After which he went to Naples, where he set “Acis et Galatea,” in Italian, to music. Returning to Germany, he was patronised by the Elector of Hanover, subsequently George the First. In 1710 he visited London, by permission of his patron, who had settled a pension of £200 per annum on him. In London he produced the opera of “Rinaldo,” universally admired--equal with all his other productions that had preceded. He was compelled to leave, however reluctantly, the British shore, consistent with his engagement to his patron the Elector. He departed, not without exciting general regret, two years after his first arrival in this country. He soon appeared here again, however, and his return was welcomed like the rising of the genial orb of day before the wrapt Ignicolist! But now seduced by the favour