THE NEW SCHAFF-I1ERZ0G
Cox, Recollections of Oxford, pp. 264-271, ib. 1871; T. Mozlev, Reminiscences, chiefly of Oriel College, pp. 350- 386, ib. 1882; DXB, xxiv. 264-266.
HAMPTON COURT CONFERENCE : A meeting called by James I. of England at Hampton Court Palace (15 m. w.s.w. of London) in 1604 for the discussion of differences between the Puritans and the High-church party. It was occasioned by certain petitions from the Puritans, particularly the " "Millenary Petition " (q.v.), which was presented to James while he was on the way to London in Apr., 1603. The conference met on Jan. 14, 16, and 18. James, who presided, was supported by Archbishop Whitgift, eight bishops, seven deans, and two other clergy. The petitioners were represented by four Puritans of moderate views, John Reynolds, president of Corpus Christi College, Oxford; Laurence Chaderton, master of Emmanuel College, Cambridge; Thomas Sparke and John Knewstubs, — all of James's own selection. After the king had spent the first day in the discussion of various topics with his supporters, the four Puritan representatives were admitted to the second day's conference, and Reynolds, as spokesman, was allowed to present their grievances. He brought forward four headings: (1) purity of doctrine; (2) the ministry; (3) the reform of church government, and (4) the amendment of the Book of Common Prayer. He asked the incorporation of the nine Lambeth Articles (q.v.) with the Thirty-Nine Articles, demanded an enlargement of the catechism and a new translation of the Bible, presented the objections of the Puritans to the Book of Common Prayer, and insisted on the need of a preaching ministry. When he came to speak of disciplinary questions an unfortunate use of the word " presbytery " threw James into such a rage that he broke up the conference for the day. On the third day of the conference James met his clergy, with whom were now associated the leading ecclesiastical lawyers, and later called in the Puritan representatives to hear his decision. The old ceremonies were to continue; there was to be no provision for a preaching ministry; and the existing church order was to be upheld. The following changes — very unsatisfactory to the Puritans — were made in the Prayer-book: mention of baptizing of infants by women was omitted; in the rubric of absolution was inserted " remission of sins "; confirmation was termed " laying on of hands "; all the thanksgivings, except the general one, were inserted; to the catechism was annexed the whole of the latter portion relative to the two sacraments; and some words were altered in the lessons. Reynolds' request for a new translation of the Bible bore fruit in the so-called Authorized Version, by far the most important result of the conference. See Puritans, Puritanism, § 15.
Bibliography: T. Fuller, Church Hist, of Britain, book x., section i., London, 1837; W. Clark, The Anglican Reformation, pp. 364 sqq., New York, 1897; J. H. Overton, The Church in England, ii. 4 sqq., ib. 1897; W H. Frere, The English Church (1558-1625), pp. 196 sqq., ib. 1904; F. Procter and W. H. Frere, A New Hist, of the Book of Common Prayer, pp. 137-140 et passim, ib. 1305.
HANDEL, GEORGE FREDERICK (properly GEORG FRIEDRICH HAENDEL): Musician and composer; b. at Halle, Prussia, Feb. 23, 1685; d. in
London Apr. 14, 1759. At the age of seven he was a skilful performer on the piano and organ, and at nine he began to compose music. In 1702, in obedience k> his father's wishes, he began the study of law at the University of Halle, but the following year he abandoned law for music and accepted a position as violinist in the orchestra of the operahouse at Hamburg. Here his first two operas Almira and Nero, were produced early in 1705. Two other early operas, Daphne and Florindo, were produced at Hamburg in 1708. During the years 1707-09 Handel traveled and studied in Italy. Flis Rodrigo was produced at Florence in 1707, and his Agrippina at Venice in 1708. Two oratorios La Resurrezione and II Trionjo del Tempo, were produced at Rome in 1709 and 1710, respectively. In 1710 Handel became Kapellmeister to George, elector of Hanover, afterward George I. of England. He visited London in 1710 and settled there permanently in 1712, receiving a yearly income of £200 from Queen Anne. He was director of the Royal Academy of Music 1720-28, and a partner of J. J. Heidegger in the management of the King's Theatre 1729-34. He gave up operatic management entirely in 1740, after he had lost a fortune in the business. In 1751 he became blind. He was buried in Westminster Abbey.
Handel's compositions include some fifty operas, twenty-three oratorios, and a large amount of church music, not to speak of his instrumental pieces. Though his operas were superior to those of his contemporaries, they have now been superseded and largely forgotten, with the exception of certain detached arias. It is upon his oratorios that his fame rests. It was his peculiar service to create and perfect the oratorio; and in this field he is still supreme. His best known oratorios are: Esther (1720); Saul (1739); Israel in Egypt (1739); The Messiah (1742); Samson (1743); Judas Maccabaus (1747); and Jephthah (1752). His works were edited by S. Arnold (40 vols., London, 1786), and more recently by F Chrysander, for the German Handel-Gesellschaft (100 vols., Leipsic, 1859-94). See Music, Sacred.
Bibliography: The best early biography is by J. Mainwaring, Memoirs of the Life of . . George Frederick Handel, London, 1760. Consult further: W. S. Rockstro, Life of Handel, ed. G. Grove, London, 1883; E. B.
B. Ramsay, Lectures on the Genius of Handel, ib. 1862; F. Crowest, The Great Tone Poets, ib. 1881; A. Reissmann, Georg Friedrich Handel, sein Leben und seine Werke, Berlin, 1882; Mrs. J. Marshall, Handel in Great Musicians Series, London, 1883; C. E. Bourne, The Great Composers, ib. 1888; J. C. Hadden, Handel, ib. 1SSS; L. Engel, From Handel to Halle, ib. 1890; J. F. Rowbotham, Private Life of the Great Composers, New York, 1893; F. Volbach, Georg Friedrich Handel, Berlin, 1S9S;
C. L. A. Williams, Handel, London, 1901; W. H. Cummings, Handel, ib. 1904; S. Taylor, The Indebtedness of Handel to Works of Other Composers, Cambridge, 1906.