"Borrowed Attitudes" in Reynolds and Hogarth

is too pure for the mouth of Vice.' In fact its particular tone of sensuousness falls just between the two, and can be applied equally well to both cases. It cannot, however, be maintained that in every case the music is equally appropriate in its new setting and in its old. There is no doubt that, working at the speed which he was forced to keep up, Bach sometimes made adaptations which do not fit in every detail. All critics seem, for instance, to agree that the music which in the Hercules accompanies the words :