worked, the more his traits were accentuated, and became permanent. As happens to all artists who enjoy too much success, this reacted on his art, and imposed on him the repetition of certain fixed patterns. The natural laziness of Bononcini only exaggerated this tendency, so that from year to year this affectedness appeared in his art, making it quite mechanical. His music, often beautiful and gracious, always harmonious, never expressive, unrolled itself as a succession of elegant and highly finished subjects, all cut out as if with scissors on the same pattern, and indefinitely repeated. At first in London one was only conscious of his charm. The personality of the musician added to the attractions of his music. The gentle Italian had polished manners, a quality at once lovable, and penetrated by a bold courage. He was a virtuoso like Handel, but on an instrument more distinguished than the clavier—on the violoncello; and he was listened to with respect in the aristocratic salons. He was, so to speak, the author à la mode; and his Astarto,[1] given at the end of 1720, erased the impression made by Handel's Radamisto.
Handel had his work cut out. He was not suited to strive with Bononcini on the ground of Italianism. However, he was up against the wall. The English public, always keen on bear fights, cock fights, and virtuoso contests, amused themselves by arranging
- ↑ The work had already been given in Italy about 1714. It was then that Lord Burlington heard it, and became the champion of Bononcini when he decided to come to England.
