Even in the _Da Capo_, however, he gives us a variety of forms! Not only does Handel use all styles, but how well does he blend the voices with the instruments in those airs of great brilliance and free virtuosity![307] With what predilection does he ply all these beautiful and learned contrapuntal tissues, as in the _Cara sposa_ from _Rinaldo_ or the _Ombra cara_ from _Radamisto_; but he ever seeks new combinations for the old form. He was one of the first to adopt the little Airs _da capo_, which with Bononcini seems to have been so much the fashion at the commencement of the eighteenth century, and of which _Agrippina_ and _Ottone_ furnish such delightful examples.[308] To the second part of the air he gave a different character and movement from that of the first part.[309] Still further, in either of the parts several movements were combined.[310] Sometimes the second part was recitative,[311] or it was extremely condensed.[312] When Handel had choruses at his disposal in his oratorios, he often entrusted the _Da Capo_ to the Chorus.[313] He went further: in _Samson_, after Micah has sung in the second act the first two parts of the air "Return, O God of Hosts," the chorus takes up the second part at the same time as Micah returns to the first part. Finally he attempts to divide the _Da Capo_ between two characters, thus in the second act of _Saul_, Jonathan's solo "Sin not, O King, against the youth," is followed by Saul's solo, then appearing note for note. But the most glorious feat of Handel in vocal solos is the "recitative scene."