“Now in reference to the occasion of it, &c. It is worth taking notice, That there are times and particular seasons, in which the ablest Master of his Art, shall not be able to command his Invention or produce things so to his content or liking, as he shall at other times; but he shall be (as it were,) stupid, dull, and shut up, as to any neat, spruce, or curious Invention. “But again, at other times, he will have Inventions come flowing in upon him, with so much ease and freedom, that his greatest trouble will be to retain, remember, or set them down, in good order. “Yet more particularly, as to the occasion of this Lesson, I would have you take notice, that as it was at such a time, when I was wholly and intimately possessed with the true and perfect idea of my living Mistress, who was at that time, lovely, fair, comely, sweet, debonair, uniformly-neat, and every way compleat; how could, possibly, my fancy run upon anything at that time, but upon the very simile, form, or likeness, of the same substantial thing. “And that this Lesson doth represent, and shadow forth such a true relation, as here I have made, I desire you to take notice of it, in every particular; which I assure myself, may be of benefit to any, who shall observe it well. “First, therefore, observe the two first Bars of it, which will give you the Fugue; which Fugue is maintained quite through the whole lesson. “Secondly, observe the Form, and Shape of the whole lesson, which consists of two uniform, and equal strains; both strains having the same number of Bars. “Thirdly, observe the humour of it; which you may perceive (by the marks and directions) is not common. “These three terms, or things, ought to be considered in all compositions, and performances of this nature, viz. Ayres, or the like. “The Fugue is lively, ayrey, neat, curious, and sweet, like my Mistress. “The Form is uniform, comely, substantial, grave, and lovely, like my Mistress. “The Humour is singularly spruce, amiable, pleasant, obliging, and innocent, like my Mistress. “This relation to some may seem odd, strange, humorous, and impertinent; but to others (I presume) it may be intelligible and useful; in that I know, by good experience, that in Music, all these significations, (and vastly many more,) may, by an experienced and understanding Artist, be clearly, and most significantly expressed; yea, even as by language itself, if not much more effectually. And also, in that I know, that as a person is affected or disposed in his temper, or humour, by reason of what object of his mind soever, he shall at that time produce matter, (if he be put to it,) answerable to that temper, disposition, or humour, in which he is.