composed previous to my departure to America in the autumn of the year 1848, and presented as little souvenirs to several of my friends on my leaving England. The rest with one exception were written entirely for my own amusement during the time I was away, and all of them were composed without any view to their publication... On my return to England I was urged by one of my friends... to make a complete collection of these little compositions and publish them in a consolidated form. The kindness of my friends in restoring me some of my MSS. has enabled me to do this, and I now send these songs forth into the world, satisfied if they should be the means, in however humble a degree, of adding to the material of musical enjoyment, or of contributing anything to the regeneration of the popular taste in an important department of chamber music.' It was also during the 1840s that he wrote "Simon the Cellarer", another abiding favourite (which he sold to Oliphant for 'a £10 note'). This was incorporated into the ballad opera Diamond cut diamond by Henri Drayton in 1859. Charles Santley, who championed "To Anthea" and "Simon the Cellarer" singing them with Hatton accompanying, lived long enough to record them both, twice, in the early 20th century, preserving his association with the composer. Hatton was one of the great accompanists of his time, and during the 1850s he toured with Mario and Grisi, and with Sims Reeves. For Mario he composed his famous song "Good-night, sweetheart, good-night", instructing him in the pronunciation of the words and coaching him in the music before it had been committed to manuscript. It was this, and 'Com'è gentil" from Don Pasquale, that became the two favourite songs most associated with Mario. Hatton toured with Reeves in 1850 before returning briefly to America, and made a tour to Dublin, Belfast and Manchester with him in 1853, on which occasion, in Dublin, Reeves first sang Good-night, sweetheart. Mario sang it suavely, and with an Italian accent, so as to break one's heart; Reeves made it vigorous and soul-stirring. Hatton composed Anglican church music including a morning and evening service in E, and a number of anthems such as Come Holy Ghost and Blessed be the Lord of Israel. Reeves, on account of Hatton's appearance with a bald dome and surrounding fringe, used to