IN February 1816 Richard Fitzwilliam, seventh Viscount Fitzwilliam of Merrion and Thorncastle, died, bequeathing his large collection of works of art, anti- quities, books and music to the University of Cambridge. After an interval of over eight years, the University decided to permit selections from the printed and manuscript music in the collection to be published. The principal outcome was The Fitzwilliam Music, an ambitious five-volume edition of sacred music from the collection made by the organist, editor and publisher Vincent Novello, published between 1825 and 1827. The composer and organist Samuel Wesley, a close friend and professional associate of Novello, also became involved, and in 1826 published an edition of three tunes by Handel to hymns by his father that he had discovered in the collection. Wesley also projected an edition of motets by IN February 1816 Richard Fitzwilliam, seventh Viscount Fitzwilliam of Merrion and Thorncastle, died, bequeathing his large collection of works of art, anti- quities, books and music to the University of Cambridge. After an interval of over eight years, the University decided to permit selections from the printed and manuscript music in the collection to be published. The principal outcome was The Fitzwilliam Music, an ambitious five-volume edition of sacred music from the collection made by the organist, editor and publisher Vincent Novello, published between 1825 and 1827. The composer and organist Samuel Wesley, a close friend and professional associate of Novello, also became involved, and in 1826 published an edition of three tunes by Handel to hymns by his father that he had discovered in the collection. Wesley also projected an edition of motets by William Byrd.