THREE:The system of combination had spread very widely in 1837 and 1838. So great was the terrorism produced that conviction for an outrage was very rare. The utmost precautions were taken to prevent discovery in committing assassination. Strangers were sent to a great distance for the purpose; and even if they were detected, few persons would run the risk of coming forward as witnesses. The consequence was that in nine cases out of ten combination murders were perpetrated with impunity. In 1837 the Cotton Spinners' Association at Glasgow struck to prevent a reduction of wages in consequence of the mercantile embarrassments arising from the commercial crash in the United States. This association had its branches all over Scotland and the North of England. During sixteen years a total of 200,000 had passed through its hands. So extensive were its ramifications that, when it struck in the spring of 1837, no less than 50,000 persons, including the families of the workers, were deprived of the means of existence, and reduced to the last degree of destitution. Crowds of angry workmen paraded the streets and gathered round the factory gates, to prevent other people from going in to work; fire-balls were thrown into the mills for the purpose of burning them. At length the members of the association went so far as to shoot one of the new hands in open day in a public street of Glasgow. In consequence of this outrage the sheriff of Lanarkshire proceeded with a body of twenty policemen and arrested the members of the secret committee, sixteen in number, who were found assembled in a garret, to which they obtained access by a trap-ladder, in Gallowgate of that city. This was on Saturday night, August 3rd. On the Monday following the strike was at an end, and all the mills in Glasgow were going. The jury found the prisoners guilty of conspiracy, and they were sentenced to transportation, but the murder not provena result which excited some surprise, as the evidence was thought to have warranted a general verdict of "Guilty." This was, two years after, followed by their being all liberated from confinement by Lord Normanby, then Home Secretary.The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfelsat whose court his brother-in-law was a valetwho found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburgwhere, in 1705, he brought out his "Almira"he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. On its next presentation in London his audience reversed the former judgment, and the delighted composer then presented the manuscript to the Foundling Hospital, where it was performed annually for the benefit of that excellent institution, and added to its funds ten thousand three hundred pounds. It became the custom, from 1737, to perform oratorios[156] on the Wednesdays and Fridays in Lent. Handel, whose genius has never been surpassed for vigour, spirit, invention, and sublimity, became blind in his latter years. He continued to perform in public, and to compose, till within a week of his death, which took place on April 13, 1759.
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