[Illustration: HANDEL AS A MONSTROUS "HARMONIOUS BOAR." This caricature is said to have been drawn by the scene-painter at the theatre, in spiteful retaliation for some reprimand received from the composer.] The most beautiful of his piano compositions are the eight suites of 1720. "_Suite_" does not signify here a definite form of piano music, as with Bach and his German predecessors. The word indeed can only be translated by _series_, or _succession_. In this collection there is not one actual suite, but a number of different pieces for the piano are arranged in pleasing alternation. There are dances and variations, but also preludes and fugues, and finally pieces more in the manner of the Italian chamber music, which preferred the violin to the piano as a medium of expression. The caprice of the master here held sovereign sway. Even his manner of writing for the piano is different from that of Bach. He had learned more than the latter from Krieger and Kuhnau, and a certain relationship with the South German piano music is also shown; it is very significant that he interested himself in the "_Componimenti Musicali_," by Gottlieb Muffat of Vienna, which appeared in 1735, while, so far as we know, he took no notice of Bach's piano compositions. It is, however, certain that he allowed himself to be strongly influenced by the two Scarlattis; this is plainly shown by the style of his piano technique, but more especially in his manner of writing piano fugues. In regard to this, one should examine, by the side of the first collection, the fourth, published in 1735, which only contains six fugues. The contents of the second and third are less important. Handel at one time gave instruction to the royal princesses, and may have written down for their use much that is included in this collection.