I find from the collection of old newspapers before me, that Handel, whose _Ariadne_ was first produced and whose _Pastor Fido_ was revived in 1734, is called in the playbills of the King's Theatre "Mr. Handell." The following is the announcement of the performance given at that establishment on the 4th June, 1734, "being the last time of performing till after the holidays." "AT the KING'S THEATRE in the HAYMARKET, on Tuesday next, being the 4th day of June will be performed an Opera called PASTOR FIDO, Composed by Mr. Handell, intermixed with Choruses. The Scenery after a particular manner. Pit and Boxes will be put together, and no persons to be admitted without tickets, which will be delivered that day at the Office of the Haymarket, at half a guinea each. GALLERY FIVE SHILLINGS. [Sidenote: MR. HANDELL.] BY HIS MAJESTY'S COMMAND. No persons whatever to be admitted behind the scenes. To begin at half an hour after six o'clock." Handel had now been twenty-four years in London where he had raised the Italian Opera to a pitch of excellence unequalled elsewhere in Europe, except perhaps at Dresden, which during the first half of the 18th century was universally celebrated for the perfection of its operatic performances at the Court Theatre directed by Hasse. But of the introduction of Italian Opera into England, and especially of the arrival of Handel, his operatic enterprises, his successes and his failures, I must speak in another chapter. CHAPTER V. INTRODUCTION OF ITALIAN OPERA INTO ENGLAND. Operatic Feuds.--Objections to Nose-pulling.--Arsinoe.--Camilla and the Boar.--Steele on insanity.--Handel and Clayton.--Nicolini and the lion.--Rinaldo and the sparrows.--Hamlet set to music.--Three enraged musicians.--Three charming singers. It was not until the close of the 17th century that England was visited by any Italian singers of note, among the first of whom was the well-known Margarita de l'Epine. This vocalist's name frequently occurs in the current literature of the period, and Swift in his "Journal to Stella" speaks in his own graceful way of having heard "Margarita and her sister and another drab, and a parcel of fiddlers at Windsor." This was in 1711, nineteen years after her arrival in England--a proof that even then Italian singers, who had once obtained the favour of the English public, were determined to profit by it as long as possible. Margarita was an excellent musician, and a virtuous and amiable woman; but she was ugly and was called Hecate by her husband, who had married her for her money. [Sidenote: OPERATIC FEUDS.]