The question that I have been researching is; how do we faithfully reconstruct the musical forces that would have been in use at the Esnoga- especially to accompany singing- at its 1675 dedication and the years following? The least known element of this question concerns continuo. Payment records give very scant clues, and there is nothing directly notated in 17th- and early 18th- century scores as to continuo instrumentation.It has long been suspected based on the evidence that exists that the continuo section used to accompany singing at the Esnoga in the 17th and 18th centuries consisted of viola da gamba as a bowed bass and a harp for chordal realization. Yesterday I made my way to the cemetery at Oudekerk aan de Amstel in the off chance that I could find any musical iconography that would be suggestive of instrumentation. To my surprise and delight, in the Ferrara marble of the maseba of David da Roche (1708), there was carved exactly this ensemble; a King David (referring to his name) complete with viola da gamba and a harp. Da Rocha and his family would have left very specific instructions for the carving; he certainly spared no expense. He would also have intimately known the instrumentation at the Esnoga, and may have even attended its inauguration. So thanks to Senhor da Rocha, now we can add iconography to the growing evidence of continuo accompaniment at the Esnoga, literally carved in stone.