seen sitting at her writing desk, beside her favourite window which provided the titles for three of her books. Here she wrote many novels and also poetry. Her passion for Dartmoor is evident in her writing and she was often referred to as 'My Lady of the Moor' following the publication of John Oxenham's novel in which she was the heroine. The book was called My Lady of the Moor, and she adopted the title. Chase was initially welcoming to devotees of her work to her home at Venton, where she was happy to show them round and sell them signed copies of her books, but in later life she tired of them and erected notices on her property ordering "trippers" not to call. The popularity of her fiction declined and in 1930 she decided to become a photographer: she produced a series of postcards of Dartmoor views for Raphael Tuck & Sons, and a book of 41 of her "Dartmoor Snapshots" was published in 1931. As she grew older she vigorously campaigned to protect the moor from modern developments – particularly its use by the British Army – selling many of her possessions to fund this. She lived alone at Venton until 1954 when, aged 79 or 80, she was taken to hospital under the provisions of the National Assistance Act 1948 as a person in need of care and attention. Locals tell a story that she was taken to hospital in a straitjacket, but only after the loaded revolver she kept by her bed was removed. Chase died at Newton Abbot Infirmary on 3 July 1955 and was buried in the churchyard at Widecombe-in-the-Moor. The granite cross on her grave is inscribed with "Beatrice Chase 1874–1955" on one side and "Pray for Olive Katharine Parr" on the other. It was erected in 1959 and is a reduced-size copy of Nun's Cross. Legacy Since the second half of the 20th century, Chase's writing style has been seen as outdated and her novels have been described as containing "cardboard characters [that] move stiffly through stereotypical scenes ... uttering trite phrases of deplorable sentimentality". However, her descriptions of life on Dartmoor at the turn of the 20th century are seen as valuable. In her last book The Dartmoor Window Forty years On (1948) she claimed to have started the tradition of Uncle Tom Cobley appearing in a smock-frock at the annual