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 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. [Illustration: MRS. ARABELLA HUNT SINGING TO QUEEN MARY. (_See p._ 155.)] Whilst this progress in operatic and sacred music was being made, the Church Service had received some admirable additions. Jeremiah Clarke, the Rev. Henry Aldrich, D.D., dean of Christ Church, John Weldon, organist to Queen Anne, and Georges I. and II., and the Rev. Dr. Robert Creighton, canon of Salisbury, composed many admirable pieces. William Croft, Mus. Doc., is the author of thirty-one splendid anthems, and Maurice Greene, Mus. Doc., of forty, which are still heard with solemn delight in old choirs. William Boyce, Mus. Doc., organist to Georges II. and III., added to these numerous anthems and services the oratorio of "Solomon," and many other compositions of a superb character--one of them the grand anthem performed annually at the Feast of the Sons of the Clergy. Boyce also composed a variety of secular pieces of rare merit.