“Oh, but I adore it,” Lucia was saying. “One of the most marvellous inventions of modern times. Were we not saying so last night, Pepino? And Miss Olga is telling me that everyone in London has a listening-in apparatus. Pray turn it on, Miss Olga; it will be a treat to hear it! Ah, the Beethoven brooch: thank you, Georgie--_mille grazie_.” Olga turned a handle or a screw or something, and there was a short pause: the next item presumably had already been announced. And then, wonder of wonders, there came from the trumpet the first bars of the Moonlight Sonata. Now the Moonlight Sonata (especially the first movement of it) had an almost sacred significance in Riseholme. It was Lucia’s tune, much as God Save the King is the King’s tune. Whatever musical entertainment had been going on, it was certain that if Lucia was present she would sooner or later be easily induced to play the first movement of the Moonlight Sonata. Astonished as everybody already was at her not only countenancing but even allowing this mechanism, so lately abhorred by her, to be set to work at all, it was infinitely more amazing that she should permit it to play Her tune. But there she was composing her face to her well-known Beethoven expression, leaning a little forward, with her chin in her hand, and her eyes wearing the far-away look from which the last chord would recall her. At the end of the first movement everybody gave the little sigh which was its due, and the wistful sadness faded from their faces, and Lucia, with a gesture, hushing all attempt at comment or applause, gave a gay little smile to show she knew what was coming next. The smile broadened, as the Scherzo began, into a little ripple of laughter, the hand which had supported her chin once more sought the Beethoven brooch, and she sat eager and joyful and alert, sometimes just shaking her head in wordless criticism, and once saying “Tut-tut” when the clarity of a run did not come up to her standard, till the sonata was finished. “A treat,” she said at the end, “really most enjoyable. That dear old tune! I thought the first movement was a little hurried: Cortot, I remember, took it a little more slowly, and a little more _legato_, but it was very creditably played.” Olga at the machine, was out of sight of Lucia, and during the performance Georgie noticed that she had glanced at the Sunday paper. And now when Lucia referred to Cortot, she hurriedly chucked it into a window-seat and changed the subject. “I ought to have stopped it,” she said, “because we needn’t go to the wireless to hear that. Do show us what you mean, Mrs. Lucas, about the first movement.” Lucia glided to the piano. “Just a bar or two, shall I?” she said. Everybody gave a sympathetic murmur, and they had the first movement over again. “Only just my impression of how Cortot plays it,” she said. “It coincides with my own view of it.”