[338] Solomon, L’Allegro.
[339] Hercules, Saul, Semele, Alexander Balus, Solomon.
[340] I have noticed above the Chorus-Dances in Giulio Cesare, Orlando, Ariodante, Alcina. There are also veritable choral dances in Hercules, Belshazzar, Solomon, Saul (the Bell scene), Joshua (Sacred dance in Act II over a Ground-Bass).
[341] So in Athalia, Alexander’s Feast, L’Allegro, Samson (Michel’s rôle).
[342] Jubilate, Funeral Anthem.
[343] Quoted by M. Bellaigue in Les Époques de la Musique, Vol. I, page 109.
[344] In the time of Lully and his school, the French were the leaders in musical painting, especially for the storms. Addison made fun of it, and the parodies of the Théâtre de la Foire often amused people by reproducing in caricature the storms of the Opéra.
[345] Extract from a pamphlet published in London (1751) on The art of composing music in a completely new manner adapted even to the feeblest intellects.
Already Pope in 1742 compared Handel with Briareus.
“Strong in new arms, lo! Giant Handel stands,
Like bold Briareus with his hundred hands.”