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Updated: August 18, 2024
Pianos, cradles, arm-chairs, indeed complete drawing-room suites, cornices, door-plates, and a variety of ornaments are displayed, in addition to the tea-trays and tea-chests in which the art of japanning first became known to us. Although Messrs. Jennens and Co. have the largest establishment in Birmingham, there are several others who produce capital work; among them may be named Mr.
Martin's; but he had many powerful opponents: among others were Jennens, an iron-master, possessor of Aston-furnace; Smallbroke, another wealthy inhabitant, and Sir Thomas Holt. However, he with difficulty, triumphed over his enemies, stept into the pulpit, and held the rectory till the restoration.
The collaboration was not altogether happy, for although Jennens had considerable sense of the picturesque, and offered Handel opportunities for what may be called spectacular music on the grand scale, his literary style was pompous, rhetorical, and long-winded.
Novello's music-shop in Wardour Street. Charles Jennens, writing to his cousin Lord Guernsey on September 19, 1738, remarks that "Mr. Handel's head is more full of maggots than ever." Towards the end of July he had begun the composition of Saul, for which Jennens had provided the libretto three years before. It is evident that Handel intended to startle his audiences with his new oratorio scheme.
Chance's establishment, of which we shall say more when noting the social state of the Birmingham operatives. PAPIER MACHE. Messrs. Jennens and Bettridge's works are so well known that it is only necessary to refer to them for the purpose of saying that in their show-rooms some new application of the art which they have carried to such perfection is constantly to be found.
During the summer he had been occupied with the composition of a new oratorio, Messiah, the words for which had been chosen and arranged by Jennens, apparently with a good deal of assistance from his chaplain, the Rev. Mr. Pooley. Whether Messiah was composed with a view to production in Dublin is not known; it was begun on August 22 and finished on September 14.
He had ordered a new organ for the theatre at a cost of L500, constructed so that he might have a better command of his performers, and he had also acquired another instrument, which Jennens calls a "Tubalcain" in other words a set of bells played from a keyboard which he intended to use in the scene in which the Israelites welcome David after his victory over the Philistines.
This has been traced back to 1761, when it was purchased by Charles Jennens, Esq., of Gopsall. Its identity with the portrait which was purchased for the Duke of Hamilton and Brandon in 1809 is, at least, highly probable. In 1811 Woodburn published the first engraving from it, and stated that the picture had belonged to Prince Rupert, who left it to Mrs. E. S. Howes on his death in 1682.
On November 18 he arrived in Dublin, and opened his season at Neal's new music-hall in Fishamble Street on December 23 with a performance of L'Allegro, interspersed with concertos. A few days later he wrote a long letter to Jennens describing the unprecedented success which he had enjoyed.
By the solicitation of Mrs. Weaman, Mrs. Jennens gave 1000l. and the remainder was raised by contribution to accomplish the building. Wherever a chapel is erected, the houses immediately, as if touched by the wand of magic, spring into existence. Here is a spacious area for interment, amply furnished by death. The infant steeple, if it will bear the name, is very small but beautiful.
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