Fortunately for Handel the publick were pleased with the performance of his Alexander's Feast at Covent-garden Theatre soon after his return; and, to add to his good fortune, he was solicited to compose two Italian Operas for Lord Middlesex, who had been compelled to take the direction of this difficult concern upon himself, to preserve it from total ruin. His success on this occasion operated powerfully with the multitude; and a benefit produced him 1500_l._ in the year 1738. An opportunity thus offered to effect a complete reconciliation with his former employers; but that asperity of temper and impatience of controul which always marked his character induced him to reject every proposal connected with subscriptions. After several unsuccessful attempts to establish the Opera at Covent-garden Theatre, he turned his attention to the composition of Oratorios, which he intended should have been _acted_ and sung; but the popular opinion, that such representations from Scripture would be a profanation of religion, deterred him from the design; and he caused them to be sung only as they are at present. Similar to most human inventions, the Oratorio was of little service to the _Author_: posterity, according to custom, has had the honour of rewarding Handel's _memory_; and if an Angel composed new ones, they would certainly not succeed, till he had fled from the earth half a century, and till Handel has had _his_ day. The Irish nation received our great musician and his oratorios with complacency; and as he gave the produce of the first performance of his Messiah in Dublin to the City prison, he soon secured their patronage. After considerably improving his circumstances, he returned to England, where his oratorios recovered from their previous depression, and received that approbation which a dread of having lost them probably excited. Handel gave the profits of an annual performance of the Messiah to the Foundling Hospital; and attended their oratorios regularly long after he had lost his sight by a _gutta serena_, and till within eight days of his death. His present Majesty is passionately fond of Handel's musick; and that the publick are not less so, may be inferred by the eternal repetition of his Oratorios during the season of Lent; by which means, I shall be excused in observing, modern musical genius is depressed, and the pockets of conductors more readily filled. Hence the tiresome selections upon festivals and at concerts, where, if the audience is surprised by _a new_ movement, they exclaim, "Ah! this is _not like_ Handel's strains:"--True, but may they not be equally delightful?