Variations and Fugue on a Theme by Handel located. In other words, what gives unity to the variation set ... is not the theme as such, but rather a network of 'family resemblances', to use Wittgenstein's term, between the different variations." There are various opinions about the organization of the "Handel Variations". Hans Meyer, for example, sees the divisions as nos. 1–8 ('strict'), 9–12 ('free'), 13 ('synthesis'), 14–17 ('strict') and 18–25 ('free'), culminating, of course, in the fugue. William Horne emphasizes paired variations: nos. 3 and 4, 5 and 6, 7 and 8, 11 and 12, 13 and 14, 23 and 24. This helps him to group the
F-number of the f-number). He calls the f-number the "ratio number," "aperture ratio number," and "ratio aperture." He calls expressions like 8 the "fractional diameter" of the aperture, even though it is literally equal to the "absolute diameter" which he distinguishes as a different term. He also sometimes uses expressions like "an aperture of f 8" without the division indicated by the slash. Beck and Andrews in 1902 talk about the Royal Photographic Society standard of 4, 5.6, 8, 11.3, etc. The R.P.S. had changed their name and moved off of the U.S. system some time between 1895 and 1902. By