* * * * * Handel arrived at Hamburg during the summer of 1703. One can imagine him there at that time of life as in the portrait painted by Thornhill, which is in the Fitzwilliam Museum at Cambridge: a long face, calm, but a little coarse, large and serious eyes, large and straight nose, ample forehead, vigorous mouth, with thick lips, cheeks and chin already full, very straight head without wig, and covered with a biretta after the manner of Wagner. "He was rich in power, and strong in will," says Mattheson, who, by the way, was the first acquaintance he made in Hamburg. Mattheson, who was then twenty-two,[53] four years older than Handel, came from a rich Hamburg family, and possessed vast knowledge. He spoke English, Italian, French, was trained for the law, well grounded in music, could play nearly all the instruments, and wrote operas, of which he was the poet, the composer, and the actor all in one. Above all he was a master theorist, and the most energetic critic of German music. With an immense _amour-propre_ and many passionate dislikes, he had a robust spirit, very sound, and very honest, a sort of Boileau or of Lessing in music half a century before _la Dramaturgie_. On the one side he combated scholastic routine and abstract science in the name of nature, and laid down the rule that "music is that which sounds well" ("Musik müsse schön klingen").[54] He played his part in the banishment of the obsolete theories (solmisation, ecclesiastical modes) and the definition of our modern system.[55] On the other hand, he was the champion of German art and German spirit. From Lessing he derived his patriotism, his rough independence, his impetuosity, which seemed to possess a violence almost brutal. All his books cry "Fuori Barbari."[56] One of his works was entitled _The Musical Patriot_ (_Der Musikalische Patriot_, 1728).