The sentence by Walter Pater was chosen from his essay on Leonardo da Vinci, in The Renaissance. "It is the landscape, not of dreams or of fancy, but of places far withdrawn, and hours selected from a thousand with a miracle of finesse"; subtly rhythmic, too much so for any but trained ears. Some simpler excerpt from Sir Thomas Browne or John Ruskin might have been selected, such as, in the former case, the coda from the Urn Burial, or even that chest-expanding phrase, "To subsist in bones, and to be pyramidally extant is a fallacy in duration." Or, best of all, because of its tremendous intensity, the passage from Saint Paul: "For I am persuaded, that neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord." The drum-beat is felt throughout, but the pulsation is not marked as in the pages of Macaulay; nor has it the monotony found in Lohengrin on account of the prevalence of common or four-four time, and also the coincidence of the metrical and rhythmic beat, a coincidence that Chopin usually avoids, and all latter-day composers flee as dulness-breeding. The base-rhythm of English prose is, so Professor Saintsbury writes, "the pæon, or four-syllabled foot," and, he could have added, provocative of ennui for delicate ears. Variety in rhythms is the ideal. Our author appositely quotes from Puffer's Studies in Symmetry: "A picture composed in substitutional symmetry is more rich in its suggestions of motor impulse, and thus more beautiful, than an example of geometrical symmetry." And this applies to prose and music as well as to pictures. It is the very kernel of the art of Paul Cézanne; rhythmic irregularity, syncopation, asymmetry. De Quincey's Our Lady of Darkness and a sentence from Cardinal Newman's Grammar of Assent were included among the tests. Also one from Henry James; in the preface to The Golden Bowl: "For I have nowhere found vindicated the queer thesis that the right values of interesting prose depend all on withheld tests." If, according to lovers of the old rhetoric, of the resounding "purple panels" of Bossuet, Châteaubriand, Flaubert, Raleigh, Browne, and Ruskin, the cooler prose of Mr. James cannot be "spouted"; nevertheless, the interior rhythmic life is finer and more complex. The Chopin nocturne played was the familiar one in G minor, Opus 37, No. 1, simple in rhythmic structure though less interesting than its sister nocturne in G, Opus 37, No. 2 (the first is in common, the second in six-eighths time). Professor Patterson knows Riemann and his "agogic accent," which, according to that editor of the Chopin Etudes, is a slight expansion in the value of the note; not a dynamic accent.