In this, as in the preceding century, there was very little activity in England in the realm of opera music, beyond that of foreign composers imported for special engagements. In the last part of the seventeenth century, however, there was a real genius in English music, who, if he had lived longer, would in all probability have made a mark distinguishable even across the channel, and upon the chart of the world's activity in music. That composer was Henry Purcell (1658-1695), born in London, of a musical family. His father having died while the boy was a mere infant, he was presently admitted as a choir boy in the Chapel Royal, the musical director being Captain Cook, and later Pelham Humpfrey. In 1675, when yet only seventeen years of age, Purcell composed an opera, "Dido and AEneas," which is grand opera in all respects, there being no spoken dialogue but recitative--the first work of the kind in English. It contains some very spirited numbers. After this he composed music to a large number of dramatic pieces, many anthems, held the position of master of the Chapel Royal, and in many ways occupied an honored and distinguished position. He was one of the earliest composers to furnish music to some of Shakespeare's plays, and his "Full Fathom Five" and "Come unto These Yellow Sands," from the "Tempest," have held the stage until the present time. He was in all respects the most vigorous and original of English composers. He died in the fullness of his powers and was buried in Westminster Abbey. The portrait here given was painted by John Closterman, and originally engraved for his "_Orpheus Britannicus_." It is impossible not to wonder whether the future of English music might not have been better if the powerful figure of the great master Haendel had not dwarfed all native effort in Britain after Purcell. [Illustration: Fig. 63. HENRY PURCELL.] In the eighteenth century the most notable English composer was Dr. Thomas Arne (1710-1778), who enjoyed a well deserved reputation as an excellent dramatic composer, the author of many songs still reckoned among English classics, and the composer of the national hymn "Rule Britannia," which occurred as an incident in his masque of "Alfred," 1740. Dr. Arne has all the characteristics of a genuine national composer. His music was immediately popular, and held the stage for many years. His first piece was Fielding's "Opera of Operas," produced in 1733. The full list of his pieces reached upwards of forty-one operas and plays to which he furnished the music, two oratorios, "Abel" and "Judith," and a variety of occasional music. His style is somewhat like that of Haendel, a remark which was true of all English composers for more than a hundred years after Haendel's death; but it is forcible, melodious and direct. His music was not known outside of England. [Illustration] CHAPTER XXX. PIANO PLAYING AND VIRTUOSI; THE VIOLIN; TARTINI AND SPOHR. I.