The figure on which I am about to offer some remarks, is one of eighteen basreliefs on the piers supporting the arch leading into the chapel of S. Gaudenzio, in the cathedral church of Rimini. All the subjects represented are worthy of some notice, but this, being an unique symbolism of music, specially commended itself to me. I made a drawing of it under somewhat difficult circumstances, and it is my intention to set before you, if possible, the motives which influenced the artist in its design. These are evidently of classic origin and the suggestions of a scholar. Now, very few artists of the period of the early Renaissance had any claim to be so called. Their education began in the studio (bottega), and they entered at so early an age that there was little time for the humanities. We have it on record by Vasari how some, Botticelli for instance, cared nothing for school learning, yet there are works in the Uffizi by this artist full of classic knowledge, and, to my mind, the most interesting of his productions. In fact, the artist worked under the instruction of the clergy, as regards his treatment of ecclesiastical subjects; it was dangerous to travel too much out of the circle, for a charge of heresy might ensue, which was really suggested against poor Botticelli, one certainly as innocent of theology, except that taught him, as he was of Horace or Virgil. We possess a painting of his in our National Gallery, mentioned by Vasari in connection with the cleric's name who suggested its treatment. It is very orthodox in its elements.