The success of his operas at Hamburg produced a sum which enabled him to visit Italy. Florence was the first city in which he made any stay. He was there received in the kindest manner by the Grand Duke Giovanni Gaston de Medicis, and produced the opera of Rodrigo in 1709, for which he was presented with a hundred sequins, and a service of plate. Thence he proceeded to Venice, where he brought out Agrippina, which was received with acclamation, and performed twenty-seven nights successively. It seems that horns and other wind-instruments were in this opera first used in Italy as accompaniments to the voice. Here the charms of his music made an impression on the famous beauty and singer, Signora Vittoria, a lady particularly distinguished by the Grand Duke; but in this, as in every instance of a similar kind, Handel showed no disposition to avail himself of any partialities exhibited in his favour. His thoughts were nearly all absorbed by his art, and it is but just to conclude that he was also influenced by those sentiments of moral propriety which so distinctly marked his conduct through life. It is to be admitted, however, that he was too much inclined to indulge in the pleasures of the table. On visiting Rome he was hospitably and kindly entertained by the Cardinal Ottoboni, a person of the most refined taste and princely magnificence. Besides his splendid collection of pictures and statues, he possessed a library of music of great extent, and kept in his service an excellent band of performers, which was under the direction of the celebrated Corelli. At one of the parties made by the Cardinal, Handel produced the overture to Il Trionfo del Tempo, which was attempted by the band so unsuccessfully, that the composer, in his hasty manner, snatched the violin from Corelli, and played the most difficult passages with his own hand. The Italian, who was all modesty and meekness, ingenuously confessed that he did not understand the kind of music; and, when Handel still appeared impatient, only said, “Ma, caro Sassone, questa musica è nel stilo Francese, di ch’io non m’intendo”—(“But, my dear Saxon, this music is in the French style, which I do not understand”). And so far Corelli was perfectly right; Handel’s overtures are formed after the model of Lully, though, it is hardly necessary to add, he improved what he imitated. This anecdote indicates the vast superiority in point of execution possessed by the moderns. A learner of two years’ standing would now play the violin part of any of Handel’s overtures at first sight, without a fault.