When, some time ago, I was invited to read a paper before this Association, and I ventured to select Bach's ‘Art of Fugue’ as my theme, I did so because the study of the work had recently afforded me much enjoyment, and circumstances had led me to the conclusion that it was neither widely nor deeply known. When, however, I began to prepare for my task, I soon discovered that I should be in the position of the preacher who, in a thinly attended Church, scolded his congregation for the neglect shown by staying away from public worship, and then had to apologise when he remembered that his remarks could not apply to those present. I find myself in a somewhat similar position, when I reflect that many in this room must know the work on which I have undertaken to offer a few remarks, far better than I do. I can only ask their indulgence, and rely on the belief that in proportion as Bach's ‘Art of Fugue’ is known, its value and importance will be acknowledged, and its manifold beauties appreciated.