after which, fugal imitation. Next we have a fugal movement, like the
preceding one, in common time; lastly, one in six-eight time. All
three movements are in the same key. The part for each cembalo is
written on a separate stave, the one below the other. Only the bass
notes are written, and the upper parts are indicated by figures. But
this will be clearer presently, for we shall give one or more
illustrations. At the close of the six-eight movement is written
_fine_, and on the following page another piece begins in C major,
marked merely 2a, commencing thus:--

[Music illustration]

This theme reminds one of Bach's Adagio from the 2nd Organ Concerto--

[Music illustration]

or even Handel's "Along the Monster Atheist strode."[52] The movements
of this second piece are similar in structure and character to those
of the first. Next we have a piece of lighter character in two
movements, and, apparently, for one cembalo: there is, of course, only
one bass part (figured). At the commencement is merely marked _Basso
continuo_. The following piece is headed 3a Sonata (3rd Sonata). It is
in the key of D minor, and it has three movements, all in the same
key. Now, as all the pieces for _two cembali_ in the volume after this
are marked as sonatas, coupled with the fact that before this 3rd
Sonata there are two pieces for two cembali, the latter of which is
marked 2a (second), we may conclude that these two are also sonatas.
The piece for one cembalo between the 2nd and 3rd Sonatas is, as we
have remarked, of lighter character, and was possibly considered a
suite. After the 3rd Sonata comes a fourth, then a _Basso continuo_