If Handel really could amuse himself by playing these lessons, which are in no respect superior to the usual productions of the mediocre musicians of his time, it probably was only from feelings of curiosity and kindness towards a former friend. Mattheson composed a great deal, and made at last even his own Funeral Anthem, which after his death was performed to his honour, and which, if report speaks correctly, sounded truly miserable; and this may well be believed, considering that when he composed the music Mattheson had been deaf for nearly thirty years. Still, though he was but a poor composer, he possessed ample musical knowledge and practical skill to enable him to judge the works of his superior contemporaries. His jealous disposition, however, sometimes prevented him from forming a just opinion. His disparaging critique of an early work of Handel, in his 'Critica Musica,' Hamburg, 1725, at a time when Handel had become a resident in London, was evidently influenced by jealousy, and the same is more or less observable in his other writings. Nevertheless, he took every opportunity to keep up a correspondence with Handel, and to boast of his former familiarity with the celebrated man. Mattheson, having solicited Handel's opinion upon a certain theoretical question on which he was in dispute with some German musicians, and having also expressed the hope that Handel might favour him with some biographical notices, Handel, at the conclusion of his letter in reply, excuses himself for not complying with the second point in question:-- "Pour ce qui est du second point, vous pouvez juger vous meme qu'il demande beaucoup de recueillement, dont je ne suis pas le maitre parmi les occupations pressantes, que j'ai par devers moi. Des que j'en ferai un peu debarasse, je repasserai les Epoques principales que j'ai eues dans le cours de ma Profession, pour vous faire voir l'estime et la consideration particuliere avec laquelle j'ai l'honneur d'etre, Monsieur, Votre tres humble et tres Obeissant Serviteur, G. F. HANDEL. A Londres, Fevr. 24, 1719." In the year 1740, Mattheson published his _Grundlage einer Ehrenpforte_ ('Foundation of a Triumphal Arch'), which contains a series of biographies of the celebrated musicians of his time,--Mattheson's included. During the preparation of this work, he addressed another request to Handel to supply him with materials for a correct biography. He also dedicated twelve fugues of his own composition to Handel, of which he sent him a copy to ensure prompt attention. Handel's reply was again evasive:-- "A Londres ce 29 de Juillet, 1735. Monsieur,