As he had his morning spot in the so-called Bordone Room, facing Tintoretto's WhiteBearded Man, on the velvet-covered settee on which yesterday, after an explanation of the so-called Tempest Sonata, he continued his lecture to me on the Art of the Fugue, from before Bach to after Schumann, as he put it, and yet was in the mood to talk rather more about Mozart and not about Bach, I had to take up position in the so-called Sebastiano Room; I was compelled therefore, entirely against my inclination, to submit to Titian in order to be able to observe Reger in front of Tintoretto's White-Bearded Man, moreover standing, which was no disadvantage because I prefer standing to sitting, especially when engaged in observing people, and I have all my life been a better observer standing up than sitting down, and as, looking from the Sebastiano Room into the Bordone Room, I eventually, by focusing as hard as I could, was able to see Reger completely in profile, not even impaired by the back-rest of the settee, Reger who, no doubt badly affected by the sudden change in the weather during the preceding night, kept his black hat on his head the whole time, so as I was therefore able to see the whole left side of Reger exposed to me, my plan to observe Reger undisturbed for once had succeeded.
