[220] Thus the Invocation of Theseus to Neptune: _Nume che reggi'l mare_, and the air: _Spetto d'orrore_. [221] Johann Adolf Hasse was born March 23, 1699, at Bergedorf, near Hamburg, and died on December 16, 1783, at Venice. He came to London in October, 1734, where he gave his _Artaserse_, which was played until about 1737. He also gave in England his Siroé, 1736, and two comic _intermezzi_. I do not attach much importance to him, for his life and his art are a little outside the scope of this work. Despite the efforts of Handel's enemies, Hasse always avoided posing as the rival of his great countryman, and their art remains independent of each other. I will hold over (till some time later on) the study of the work of this admirable artist, for posterity has been even more unjust to him than to Porpora, for no one had his wonderful sense of melodic beauty in such a degree, and in his best pages he is the equal of the very greatest. [222] She was Handel's pupil and friend. An excellent musician, she conducted the orchestra at public concerts given by her every evening in Holland. [223] Handel composed for the marriage of the Princess Anne _The Wedding Anthem_ (March 14, 1734), which is a _pasticcio_ of old works, especially _Athaliah_. He gave also for the marriage _fêtes_ the serenata, _Parnasso in festa_, and a revised form of _Pastor Fido_, with choruses. [224] It was John Rich who had produced here the _Beggar's Opera_ of Gay and Pepusch in 1728--that parody of Handel's operas. [225] She was the pupil of Mlle Prévost, and made her début in 1725 with Rich. See the study of M. Emile Dacier: _Une danseuse française a Londres, au début du XVIII siècle_ (French number of the S.I.M. May and July, 1907). [226] It is interesting to notice that it was with the same subjects of _Pygmalion_ and of _Ariadne_ that J. J. Rousseau and Georg Benda inaugurated in 1770-1775 the Melodrama or "opera without singing." [227] He has been accused of knowing it too well. The Abbé Prévost wrote exactly at this same period in _Le Pour et le Contre_ (1733): "...Certain critics accuse him of having taken for his basis an infinite number of beautiful things from Lully, and especially from our French cantatas, and of having the effrontery of disguising them in the Italian manner...." [228] "_La Salle_" returned to Paris, where she made her reappearance at the Académie de Musique in August, 1735, in _les Indes galantes_ of Rameau. It is quite remarkable that some pages of this work, such as the superb chaconne at the end, have a character quite Handelian. [229] _Atalanta_ (May 12, 1736), _Arminio_ (January 12, 1737), _Giustino_ (February 16, 1737), _Berenice_ (May 18, 1737), _Faramondo_ (January 7, 1738), _Serse_ (April 15, 1738), _Imeneo_ (November 22, 1740), _Deidamia_ (January 10, 1741). [230] Especially in _Serse_ and _Deidamia_.