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FORE:

FORE:At the same time, the Duke of Brunswick was[406] approaching from the rear, and Kellermann from Metz, but both with equal tardiness. Dumouriez dispatched a courier to order Kellermann, on arriving, to take his position on the heights of Gisancourt, commanding the road to Chalons and the stream of the Auve; but Kellermann, arriving in the night of the 19th, instead of reaching the heights of Gisancourt, advanced to the centre of the basin at Valmy, where, on the morning of the 20th, he found himself commanded by the Prussians, who had come up and formed on the heights of La Lune, when, had Kellermann taken the position assigned him on Gisancourt, he would have commanded La Lune. The Prussians had been in full march for Chalons when they took post here, and discovered Kellermann below them by the mill of Valmy, and Dumouriez above on the heights of Valmy. Kellermann, perceiving the error of his position, and that the Prussians would soon seize on the heights of Gisancourt, which he ought to occupy, sent to Dumouriez for assistance to extricate himself. The King of Prussia, perceiving that forces were thrown forward towards Kellermann's position, imagined that the French meant to cut off his march towards Chalons, and immediately commenced firing. From the heights of La Lune and of Gisancourt, which he now occupied, he poured a deadly fire of artillery on Kellermann; and the Austrians, about to attempt to drive the French from the heights of Hyron, if they succeeded, would leave him exposed on all sides. The battle now was warmly contested, but only through the artillery. A shell falling into one of Kellermann's powder waggons exploded it, and occasioned much confusion. The King of Prussia thought this the moment to charge with the bayonet, and now, for the first time, the Revolutionary soldiers saw the celebrated troops, bearing the prestige of the great Frederick, marching down upon them in three columns, with the steady appearance of victory. Kellermann, to inspirit his inexperienced soldiers, shouted, "Vive la Nation!" The troops caught the enthusiasm of the cry, replied with a loud "Vive la Nation!" and dashed forward. At this sight the Duke of Brunswick was astonished; he had been led to expect nothing but disorder and cowardice; he halted, and fell back into his camp. This movement raised the audacity of the French; they continued to cannonade the Prussians, and after one or two more attempts to reach them with the bayonet, Brunswick found himself, as night fell, in anything but a victorious position. About twenty thousand cannon shots had been exchanged, whence the battle was called the cannonade of Valmy. Yet there stood the French, who, according to the reports of the Emigrants, were to have run off at the first smell of powder, or to have come over to them in a body. The next morning it was worse. Kellermann, in the night, had recovered himself from his false position; had gained the heights of Gisancourt which he should have occupied at first; had driven the Prussians thence, and now commanded them in La Lune.

FORE: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 Weissenfels��at whose court his brother-in-law was a valet��who 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 Hamburg��where, 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.