Doubtless he bore these offers of protection in mind which the Prince Gastone dei Medici had made him. Was such protection as useful to Handel as he had hoped? One may be allowed to doubt it. In truth the son of the Grand Duke of Tuscany, Ferdinand, was a musician. He played the clavier well;[1] he had caused an opera house to be built in his villa at Pratolino; he chose the libretti, advised the composers, corresponded with Alessandro Scarlatti, but he had never a very reliable taste. He found Scarlatti's style too learned. He begged him to write some easier music, and, as far as possible, lighter.[2] He himself did not continue the fastidiousness of the Medici, his ancestors. He somewhat stinted his outlay on music. He decided not to appoint Scarlatti his chapel-master, and when this great artist asked for money at a period of embarrassment he responded "that he would pray for him."[3] One can scarcely believe that he was less economical in his dealings with Handel, who had less reputation than Scarlatti. He seems to have paid little attention to him during his first visit. The Prince himself seemed out of his element in this new world. It was necessary for him to
who ought to have presented him to the Grand Duke, left Florence in November, 1706. He also places in this first sojourn in Florence the production of Handel's Roderigo, of which all precise records in the archives of the Medicis and the papers of the time are lost. I am more inclined to follow the traditional opinion that Roderigo dates from Handel's second stay in Florence, when he commenced to work in the Italian language and style.
