But the personal influence of the character and the art of Zachau reacted no less strongly on Handel than did his methods of instruction. One is struck by the relationship of his works[14] to those of Handel; they are similar in character and style. The reminiscences of motives, figures, and of subjects count for little;[15] there is the same essence in the art of both master and pupil; there is the same feeling of light and joy; there is nothing of the pious concentration and introspection of Bach, who goes down into the deeps of thought, and who loves to probe into all the innermost recesses of the heart, and--in silence and solitude--converse with his God. The music of Zachau is the music of great spaces, of dazzling frescoes, such as one sees on the domes of the Italian cathedrals of the sixteenth and seventeenth centuries; but Zachau's work contains more religion than these. His music pulses with action like the bounding and rebounding of great springs of steel. It has triumphant subjects with expositions of great solemnity. There are victorious marches, carrying everything before them, which go crashing on without stopping, ever spurring on the sparkling and joyous patterns. There are also pastoral themes, pure and voluptuous reveries,[16] dances, and songs accompanied by flutes, with a Grecian perfume,[17] and a smiling virtuosity, a joy intoxicated with itself, twisting lines, and vocal arabesques, vocalizations, trills for the voice which gambol light-heartedly with the little wave-like arpeggios of the violins.[18] Let us unite these two traits: the heroic and the pastoral, the warriors' marches and the jubilant dances. There you have the Handelian tableaux: the people of Israel and the women dancing before the victorious army. You find in Zachau a sketch for the monumental constructions of Handel in his Hallelujahs; those mountains of sound which resound their joy, the colossal _Amens_ which crown his oratorios like the dome of St. Peter at Rome.[19] Add to this also Zachau's marked liking for instrumental music,[20] which makes him combine it so happily with the vocal solos; and very often he imagines the voice as an instrument, which combines and gambols with the other instruments, thus forming a decorative garland harmoniously woven. To sum up, it was an art less intimate than expansive, an art newly born; not devoid of emotion though,[21] but above all, restful, strong, and happy--an optimistic music like that of Handel.