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pass into Somersetshire the folk-music assumes quite a different character. The tenderness, the refinement have vanished. Judging from their songs, we might expect to find the Somersetshire folk bold, frank, noisy, independent, self-assertive; and this view would be quite in keeping with their traditional character. In Shakespeare's time bandogs and bull baiting were the special delight of the country gentry,3 and Fuller describes the natives of Taunton Dean as "rude, rich, and conceited." If one turn to the music, "Richard of Taunton Dean," or "Jan's Courtship," "George Riddler's Oven," and the like, are in entire keeping with the character of the people as thus depicted. There is vigour and go in their songs, but no sweetness; ruggedness, no smoothness at all; and it is precisely this latter quality that marks the Cornish and Devonshire airs.

      Take such a tune as that to which the well-known hunting song of Devon, "Arscott of Tetcott," is wedded. The air is a couple of centuries older than the words, for the Arscott whom the song records died in 1788, though we can only trace the tune back to D'Urfey at the end of the seventeenth century. The music is impetuous, turbulent, excited, it might be the chasing the red deer on Exmoor; the hunt goes by with a rush like a whirlwind to a semi-barbarous melody, which resembles nothing so much as that of the spectral chase in Der Freischütz.

      But Somersetshire song can be tender at times, though not quite with the bewitching grace of Devonia. There is a charming air which found its way from the West up to London some sixty years ago, the original words of which are lost, but the tune became immensely popular under the title of "All round my hat," a vulgar ditty sung by all little vulgar boys in the streets. The tune is well worth preserving. It is old, and there is a kind of wail about it which is touching.

      But who were the composers of these folk-airs? In the old desks in west galleries of churches remain here and there piles of MS. music: anthems, and, above all, carols, the composition of local musicians unknown beyond their immediate neighbourhood, and now unknown even by name.

      A few years ago I was shown such a pile from Lifton Church. I saw another great library, as I may call it, that was preserved in the rack in the ceiling of a cottage at Sheepstor, the property of an old fiddler, now dead. I saw a third in Holne parish. I have seen stray heaps elsewhere. Mr. Heath, of Redruth, published two collections from Cornwall and one from Devon, the latter from the Lifton store in part, to which I had directed his attention. I cannot doubt that some of the popular tunes that are found circulating among our old singers – or to be more exact, were found – were the composition of these ancient village musicians. Alas! the American organ and the strident harmonium came in and routed out the venerable representatives of a musical past; and the music-hall piece is now driving away all the sound old traditional melody, and the last of the ancient conservators of folk-song makes his bow, and says: —

      "I be going, I reckon, full mellow,

      To lay in the churchyard my head,

      So say – God be wi' you, old fellow!

      The last of the zingers is dead."

      Note. – For the history of Devon: Worth (R. N.), History of Devonshire. London, 1886. For Devonshire dialect: Hewett(S.), The Peasant Speech of Devon. E. Stock. London, 1892. For Devonshire folk-music: Songs of the West. Methuen. London, 1895. (3rd ed.) A Garland of Country Song. Methuen. London, 1895.

      For most of what has been said above on the folk-songs of Devon I am indebted to the Rev. H. Fleetwood Sheppard, who has made it his special study.

      CHAPTER II.

      VILLAGES AND CHURCHES

      Devonshire villages not so picturesque as those of Sussex and Kent – Cob and stone – Slate – Thatch and whitewash – Churches mostly in the Perpendicular style – Characteristics of that style – Foliage in stone – Somerset towers – Cornish peculiarities of pinnacles – Waggon-headed roofs – Beer and Hatherleigh stone – Polyphant – Treatment of granite – Wood-work in Devon churches – Screens – How they have been treated by incumbents – Pulpits – Bench-ends – Norman fonts – Village crosses – How the Perpendicular style maintained itself in the West – Old mansions – Trees in Devon – Flora – The village revel.

      A Devonshire village does not contrast favourably with those in Essex, Kent, Sussex, and other parts of England, where brick or timber and plaster are the materials used, and where the roofs are tiled.

      But of cottages in the county there are two kinds. The first, always charming, is of cob, clay, thatched. Such cottages are found throughout North Devon, and wherever the red sandstone prevails. They are low, with an upper storey, the windows to which are small, and the brown thatch is lifted above these peepers like a heavy, sleepy brow in a very picturesque manner. But near Dartmoor stone is employed, and an old, imperishable granite house is delightful when thatched. But thatch has given way everywhere to slate, and when the roof is slated a great charm is gone. There is slate and slate. The soft, silvery grey slate that is used in South Devon is pleasing, and when a house is slated down its face against the driving rains, and the slates are worked into patterns and are small, they are vastly pretty. But architects are paid a percentage on the outlay, and it is to their profit to use material from a distance; they insist on Welsh or Delabole slate, and nothing can be uglier than the pink of the former and the chill grey of the other – like the tint of an overcast sky in a March wind.

      I once invited an architect to design a residence on a somewhat large scale. He did so, and laid down that Delabole slate should be employed with bands of Welsh slate of the colour of beetroot. "But," said I, "we have slate on the estate. It costs me nothing but the raising and carting."

      "I dislike the colour," said he. "If you employ an architect, you must take the architect's opinion."

      I was silenced. The same day, in the afternoon, this architect and I were walking in a lane. I exclaimed suddenly, "Oh, what an effect of colour! Do look at those crimson dock-leaves!"

      "Let me see if I can find them," said the architect. "I am colour-blind, and do not know red from green."

      It was an incautious admission. He had forgotten about the slates, and so gave himself away.

      The real objection, of course, was that my own slates would cost me nothing. But also of course he did not give me that reason.

      Where the slate rocks are found, grauwacke and schist, there the cottages are very ugly – could not well be uglier – and new cottages and houses that are erected are, as a rule, eyesores.

      However, we have in Devon some very pretty villages and clusters of cottages, and the little group of roofs of thatch and glistening whitewashed walls about the old church, the whole backed by limes and beech and elm, and set in a green combe, is all that can be desired for quiet beauty; although, individually, each cottage may not be a subject for the pencil, nor the church itself pre-eminently picturesque.

      The churches of Devonshire belong mainly to the Perpendicular style; that is to say, they were nearly all rebuilt between the end of the fourteenth and the sixteenth centuries.

      Of this style, this is what Mr. Parker says: "The name is derived from the arrangement of the tracery, which consists of perpendicular lines, and forms one of its most striking features. At its first appearance the general effect was usually bold and good; the mouldings, though not equal to the best of the Decorated style, were well defined; the enrichments effective and ample without exuberance, and the details delicate without extravagant minuteness. Subsequently it underwent a gradual debasement: the arches became depressed; the mouldings impoverished; the ornaments crowded, and often coarsely executed; and the subordinate features confused from the smallness and complexity of their parts. A leading characteristic of the style, and one which prevails throughout its continuance, is the square arrangement of the mouldings over the heads of doorways, creating a spandrel on each side above the arch, which is usually ornamented with tracery, foliage, or a shield. The jambs of doorways are generally moulded, frequently with one or more small shafts."

      The style is one that did not allow of much variety in window tracery. The object of the adoption of upright panels of glass was to allow of stained figures in glass of angels filling the lights,

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