He took the drawing to Palgrave. It was closely pasted to an old, rather thin, cardboard mount, and, on holding it up to the window, one could see lines on the reverse. "Take it down to Reed at the British Museum," said Palgrave; "he is Curator of the drawings, and, if you ask him, he will have it taken off the mount." Adams amused himself for a day or two by searching Rafael's works for the figure, which he found at last in the Parnasso, the figure of Horace, of which, as it happened--though Adams did not know it--the British Museum owned a much finer drawing. At last he took the dirty, little, unfinished red-chalk sketch to Reed whom he found in the Curator's room, with some of the finest Rafael drawings in existence, hanging on the walls. "Yes!" said Mr Reed; "I noticed this at the sale; but it's not Rafael!" Adams, feeling himself incompetent to discuss this subject, reported the result to Palgrave, who said that Reed knew nothing about it. Also this point lay beyond Adams's competence; but he noted that Reed was in the employ of the British Museum as Curator of the best--or nearly the best--collection in the world, especially of Rafaels, and that he bought for the Museum. As expert he had rejected both the Rafael and the Rembrandt at first-sight, and after his attention was recalled to the Rafael for a further opinion he rejected it again. A week later, Adams returned for the drawing, which Mr. Reed took out of his drawer and gave him, saying with what seemed a little doubt or hesitation: "I should tell you that the paper shows a water-mark, which I find the same as that of paper used by Marc Antonio." A little taken back by this method of studying art, a method which even a poor and ignorant American might use as well as Rafael himself, Adams asked stupidly: "Then you think it genuine?" "Possibly!" replied Reed; "but much overdrawn." Here was expert opinion after a second revise, with help of water-marks! In Adams's opinion it was alone worth another twelve shillings as education; but this was not all. Reed continued: "The lines on the back seem to be writing, which I cannot read, but if you will take it down to the manuscript-room, they will read it for you." Adams took the sheet down to the keeper of the manuscripts and begged him to read the lines. The keeper, after a few minutes' study, very obligingly said he could not: "It is scratched with an artist's crayon, very rapidly, with many unusual abbreviations and old forms. If any one in Europe can read it, it is the old man at the table yonder, Libri! Take it to him!"