The boy was outwardly submissive, but the longing within was too strong for him. Somehow he got possession of an old clavichord, one of those muffled instruments on which musical monks could practise without disturbing the brethren, and this he smuggled up to a garret in the roof of the house, where, with storks to bear him company, he played away to his soul’s content. It was in utter ignorance of all this, that Dr. Handel took the little boy with him once, when summoned to attend the Court at Sache-Weisseufels, where the reigning duke delighted in learning, art, and music. Naturally, George Frederick found his way to the organ-loft, where the good-natured organist lifted him up, for he was but seven, that he might touch the notes. To his surprise, the child began to play with a practised hand, and with so much style, that the Grand Duke, who heard him, sent for the doctor and begged him not further to thwart such a genius. So from this time forward the boy was allowed to study seriously, under the enthusiastic organist of the Liebfrauen Kirche in Halle, who taught him to play the harpsichord, the organ, the violin, the hautboy, and other instruments, besides the art of counterpoint. When, after years of study, he came to England, where Purcell’s death had made a blank not yet filled up, he was received with open arms, his fame having preceded him. At once he was engaged to write an opera for the Queen’s Theatre, and having discovered a _libretto_ which greatly pleased him, a stirring story of the Crusades, his ideas poured forth so fast and so easily, that in a fortnight he had completed the work, and his "Rinaldo" was soon the rage of the season. Although Handel held the post of Kapellmeister to the Elector of Hanover, and had only been given leave of absence for a "reasonable time," he could not tear himself away from London, so well did he like the place and the people.