g in early April, when the sun was streaming brightly through
the oriel, and the picture received a fuller light than usual, it
occurred to me to examine closely the scroll of music painted as hanging
over the top of the pedestal on which the figure leant. I had hitherto
thought that the signs depicted on it were merely such as painters might
conventionally use to represent a piece of musical notation. This has
generally been the case, I think, in such pictures as I have ever seen
in which a piece of music has been introduced. I mean that while the
painting gives a general representation of the musical staves, no
attempt is ever made to paint any definite notes such as would enable an
actual piece to be identified. Though, as I write this, I do remember
that on the monument to Handel in Westminster Abbey there is represented
a musical scroll similar to that in Adrian Temple's picture, but
actually sculptured with the opening phrase of the majestic melody,
"I know that my Redeemer liveth."

On this morning, then, at Royston I thought I perceived that there were
painted on the scroll actual musical staves, bars, and notes; and my
interest being excited, I stood upon a chair so as better to examine
them. Though time had somewhat obscured this portion of the picture as
with a veil or film, yet I made out that the painter had intended to
depict some definite piece of music. In another moment I saw that the
air represented consisted of the opening bars of the _Gagliarda_ in the
suite by Graziani with which my brother and I were so well acquainted.
Though I believe that I had not seen the volume of music in which that
piece was contained more than twice, yet the melody was very familiar
to me, and I had no difficulty whatever in making myself sure that I had
here before me the air of the _Gagliarda_ and none other. It was true
that it was only roughly painted, but to one who knew the tune there was
no room left for doubt.

Here was a new cause, I will not say for surprise, but for reflection.
It might, of course, have been merely a coincidence that the artist
should have chosen to paint in this picture this particular piece of
music; but it seemed more probable that it had actually been a favourite
air of Adrian Temple, and that he had chosen deliberately to have it
represented with him. This discovery I kept entirely to myself, not
thinking it wise to communicate it to my brother, lest by doing so I
might reawaken his intere