As regards the musical compositions of Mattheson, we know from his own statement, in his autobiography, that his operas were greatly admired by the public; but this favourable opinion is hardly supported by such of his compositions as have appeared in print. A collection of twelve Suites for the harpsichord, the manuscript of which he sent to England, where it was published in two volumes, in the year 1714, bears the title:--'Pieces de Clavecin, en deux Volumes, consistant des Ouvertures, Preludes, Fugues, Allemandes, Courentes, Sarabandes, Gigues et Aires, composees par J. Mattheson, Secr.--London, printed for J. D. Fletcher.' The work is prefaced by an address to the musical public, written by the editor, J. D. Fletcher, in which he says:--"Britain may now hope to return those arts with interest, which she borrowed from other nations; and foreigners in time may learn of those whom their forefathers taught.... As the harpsichord is an instrument yet capable of greater improvement, so the following pieces claim a precedence of all others of this nature; not only that they are composed by one of the greatest masters of the age, in a taste altogether pleasing and sublime; but, as they are peculiarly adapted to that instrument, and engraven with an exactness that cannot be equall'd by any of their nature yet extant." Sir John Hawkins, who probably had not seen these Suites, relates: "Mattheson had sent over to England, in order to their being published here, two collections of lessons for the harpsichord, and they were accordingly engraved on copper, and printed for Richard Meares in St. Paul's Church-yard, and published in the year 1714. Handel was at that time in London, and in the afternoon was used to frequent St. Paul's Church for the sake of hearing the service, and of playing on the organ after it was over; from whence he and some gentlemen of the choir would frequently adjourn to the Queen's Arms tavern in St. Paul's Church-yard, where was a harpsichord. It happened one afternoon, when they were thus met together, Mr. Weely, a gentleman of the choir, came in and informed them that Mr. Mattheson's lessons were then to be had at Mr. Meares' shop; upon which Mr. Handel ordered them immediately to be sent for, and upon their being brought, played them all over without rising from the instrument." Still more odd appears Hawkins' statement that Handel "approved so highly of the compositions of Mattheson, particularly his lessons, that he was used to play them for his private amusement."[2]