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.