Handel was considered horribly noisy in his day. His friend, Goupy, the artist, made a caricature that doubtless amused Handel, who saw himself represented at the organ as a huge, unwieldy figure with a boar’s head and enormous tusks (referring to his violent temper) and the room full of horns, trumpets and kettledrums, while a donkey is also present braying loudly and in the distance a battery of artillery is ready for action. It is noticeable, too, in Handel’s Orchestra, as in Bach’s, that we get no (or very little) tone-color. Handel’s Orchestra is neutral in tint. The organ and the keyboard idea is still prevailing—all the instruments combine, as it were, to produce the one hue. “But great painter as Handel was, he did not work so much through the brilliancy, variety and novelty of his tone-colors as by the beauty of his designs and his effects of light and shade. With a voluntarily restrained palette and by satisfying himself with the sober colors of the strings, he yet was able to produce surprising and thrilling effects. Volbach has shown that he did not contrast and mix his strings but divided the same family of instruments into different groups. In the introduction to _Esther_ (1732), the violins are divided into five groups, in the _Resurrection_ (1708) into four groups. The violas are sometimes divided into two, the second group being reinforced by the third violin, or the violoncellos. On the other hand, when Handel wanted to do so, he reduced his instrumental forces by suppressing the viola and the second violin, whose places were taken by the clavecin. All his orchestral art is the true instinct of balance and economy, which, with the most restricted means in managing a few colors yet knows how to obtain as powerful impressions as our musicians to-day with their crowded palettes.