"Froberger could depict whole histories on the clavier, giving a representation of the persons present and taking part in them, with all their natural characters." When writing the Capriccio above named, Spitta believes that Bach was specially influenced by the last of the "Bible" Sonatas (we may perhaps add that Spitta tells us that Bach was intimately acquainted with Kuhnau). He indeed says: "We might doubt the early origin of the Capriccio if its evident 'dependence' on Kuhnau did not solve the mystery." Then, again, in a Sonata in D by Bach, published in the Bach Gesellschaft edition, Spitta calls attention to the opening subject in D, and does not hesitate to declare that "it is constructed on the pattern of a particular part of the story of Jacob's marriage" (the 3rd of the "Bible" Sonatas). His description of the Bach sonata would, doubtless, have attracted more notice but for the fact that copies of the Kuhnau sonatas were extremely rare; they were, we believe, never reprinted since the commencement of the eighteenth century. The first two have now been published by Messrs Novello & Co. The Kuhnau influence on Bach seems, however, to have been of short duration; for, after these juvenile attempts, as Spitta observes, "he never again returned to this branch of music in the whole course of a long artistic career extending over nearly fifty years." The fugue form absorbed nearly the whole attention of that master; and the idea of programme-music remained in abeyance until Beethoven revived it a century later.[16] Emanuel Bach inherited some of his father's genius, and he may instinctively have felt the utter hopelessness of following directly in his footsteps. J.S. Bach had exhausted the possibilities of the fugue form. It was perhaps fortunate for Emanuel Bach that, while still young, he left his father's house. After residing for a few years at Frankfort-on-the-Oder, he entered the service of Frederick the Great; and at the court of that monarch he came, at any rate, directly under Italian influence.