In the meantime, King George I. had died on the eleventh of June, 1727, and was succeeded by his son, George II., for whose coronation festival Handel had composed four great anthems. The text of one of these is as follows: "Zadok the Priest and Nathan the Prophet annointed Solomon king. And all the people rejoiced and said: God save the King, long live the King, may the King live forever! Amen, Alleluja." It soon became very popular and was called, for brevity, the anthem, "God save the King." From this arose the idea that Handel was the composer of the English national hymn, the first strophe of which ends with these words and which, for this reason, was also named from them. The idea is erroneous; the poet and composer of the hymn was the Englishman, Henry Carey, who wrote it in 1743. For the space of a year and a half, from the first of June, 1728, to the second of December, 1729, there was no Italian opera, but the public amused itself with the so-called "Beggar's Opera" of John Gay, a coarse, popular vaudeville, the musical charm of which consists in the interwoven national airs. Here was a reaction against foreign influence which plainly showed the desire of the English to impress upon their music the stamp of nationality, even though this was no longer possible. Within the next twelve years more than a hundred vaudevilles in the style of the Beggar's Opera were produced, a part of which spread over to Germany and contributed in no small degree to the development of the "_Singspiel_," which was to be moulded by Mozart and Weber into the national German opera. During the interval above mentioned Handel was not in England. He first went with Steffani to Italy, where he passed the winter. A new Italian opera enterprise was already planned, which was to be independently conducted by Heidegger and Handel, and its financial soundness to be assured by means of subscriptions. In pursuance of this plan Handel engaged singers in Italy, took up his abode for the summer of 1729 in Halle (where Bach attempted for the second time to make his personal acquaintance), and opened his theatre on the second of December with "Lotario," an opera of his own composition, furnishing in all six similar works during the four years' continuance of the enterprise. The arrogance of the Italian singers and the political opposition of all those who were angry because Handel enjoyed the favor of the royal court, finally rendered the situation unendurable. When the directors were obliged to suspend their performances, the same opposing faction, who were contending against the foreigner in the person of Handel, called into existence a rival Italian opera, for which they tried to collect the most celebrated performers in Europe. Among the singers was Cuzzoni; among the composers the husband of Faustina Bordoni, Johann Adolph Hasse, who had occupied the position of chapel-master in Dresden since 1731. When Hasse was invited to London, he is said to have asked if Handel was