found numbers of eloquent men who prepared the way for him; and amongst these precursors there is frequently discovered one who exercised a dominating influence over the young budding genius. Such an influence was exercised by Zachau on Handel, and M. Rolland rightly gives due importance to the consideration of this old master's teachings and compositions, a careful study of which should go far to supplying the right key to Handel's music. One of the great shortcomings in the general musical listener is a lack of the historical view of music. It is a long cry from Bach and Handel to Debussy and Scriabin, but we shall be all the better for looking well at both ends of the long musical chain which connects the unvoiced expression of the past with the vague yet certain hopes of the future.
No doubt we have hardly yet recovered from the false position into which we have all helped to place Handel. He was never the great Church composer which has been assumed for so long. Perhaps, rather, he leaned to the pagan side of life in his art. As Mr. Streatfeild says, "You can no more call the Messiah a work of art than you can call the Book of Common Prayer popular as a masterpiece of literature.…Handel the preacher is laid for ever in the tomb, but Handel the artist with his all-embracing sympathy for human things and his delight in the world around him lives for evermore." Handel has been greatly, almost wilfully, misrepresented; but he has played too great a part in the history of English music to be cast aside on
