Or else on week-days a consultation of the musical bill of fare on the chapel door would bring you, a little before anthem time, into the nave, for Wesley’s “Wilderness” was soon to be sung. The choir, when service was going on, was behind the screen and the crimson curtain, but the candle-light there, aided by a few sconces here, made visible the roof, and the black silhouettes of the trumpeting angels on the organ. Then the solo bass began: there was the fugue of the waters breaking out, and the treble solo and chorus of the flight of sorrow and sighing. Perhaps you waited for the conclusion of inaudible prayers, on the chance that Dr. Mann would play a Bach-fugue at the end, after the crimson curtain had been drawn back and the white choir had gone into its vestries. There was this reward, let us say, that afternoon, for the gamba on the swell started the melodious discussion, and its soliloquy provoked an answer in the same words but with another voice. The duet “thickened and broadened,” fresh voices joined; they found a second theme, and gradually step by step, the whole organ, but for one keyboard, silent as yet, took up the jubilant wrangling. What the _gamba_ had stated, the diapason now proclaimed: what the diapason had shouted was thundered from the pedals. And then the last keyboard was in use, for what but the _Tubas_ could so have imposed themselves and penetrated that immense and melodious rioting of sound? Perhaps the golden angels at the four corners of the organ, “opened their mouths and drew in their breath,” and spoke through their celestial trumpets. * * * * * It is impossible to disentangle and reduce to chronology the infinity of interests that interweaved themselves with these three undergraduate years, and the reader must sympathetically partake of a _macedoine_ of memories, that were the ingredients in the enthralling dish. Outside Cambridge, which daily became more absorbing, I had the emotional experience of seeing Miss Mary Anderson double the part of Hermione and Perdita in _The Winter’s Tale_, and fell violently in love with her. Never surely was there so beautiful a Shakespearian heroine, never did another actress make such music of the tale of the flowers she had gathered. No sculptor’s skill or whiteness of Pentelic marble ever approached the glory of that queenly figure, and with what amazement of joy I saw it stir and cease to be a statue when, with a waving of lovely arms, that sent up a cloud of powder, there was no statue any more but the queen, living and moving again. I bought a photograph of her, carried it about with me by day, and by night put it on a table by my bed, fearing all the time that my father would discover it, for he would not have cared much about this experience of mine. Not for nearly thirty years later did I meet my Hermione in the flesh and lay my belated homage before her.