emotions, souls, and situations, to see the epochs and the places, which are the framework of the emotions, and which tint them with their own peculiar moral tone. In a word, his is an art essentially picturesque and dramatic. It is scarcely twenty to thirty years since the key to it was found in Germany, thanks to the Handel Musical Festivals. As Heuss says, concerning a recent performance at Leipzig, "For a proper comprehension no master more than Handel has greater need of being performed, and well performed. One can study J. S. Bach at home, and enjoy it even more than at a good concert, but he who has never heard Handel well performed can with difficulty imagine what he really is, for really good performances of Handel are excessively rare." The intimate sense of his works was falsified in the century which followed his death by the English interpretations, strengthened further still in Germany by those of Mendelssohn, and his numerous following. By the exclusion of and systematic contempt for all the operas of Handel, by an elimination of nearly all the dramatic oratorios, the most powerful and the freshest, by a narrow choice more and more restrained to the four or five oratorios, and even here, by giving an exaggerated supremacy to The Messiah, by the interpretation finally of these works, and notably of The Messiah in a pompous, rigid, and stolid manner, with an orchestra and choir far too numerous and badly balanced, with singers frightfully correct and pious, without any feeling or intimacy, there has been established that tradition which
