the choicest of the old ditties... The names of Purcell, Arne, Shield, Dibdin, Horn and Bishop are household words, and no English collection would be complete which did not contain the best songs of these composers... New symphonies and accompaniments have been written to more than fifty of the old songs.' His selection also drew substantially on Chappell's Popular Music of Olden Time, in which many of the accompaniments were rewritten by George Alexander Macfarren, and contrasted with Hullah's Song Book of 1866, in which only the unaccompanied melodies were given. He also edited the companion volume of Songs of Ireland, with J.L. Molloy, a volume of Comic songs, and a volume of the songs by Robert Schumann, for Boosey & Co. Among the sources for Songs of England was The Beggar's Opera of John Gay and Dr Pepusch. Hatton collaborated with John Oxenford (who died in 1877) on a performing edition, providing it with new symphonies and accompaniments, which replaced the old one by Stephen Storace, and was itself replaced in 1920 by Frederic Austin's version for Nigel Playfair. Hatton and Oxenford also produced editions of Shield and Mrs. Brooke's Rosina, Arne and Bickerstaffe's Love in a Village and Storace and Hoare's No song, no supper. In 1875 Hatton went to Stuttgart, and also wrote a sacred musical drama, Hezekiah, given at The Crystal Palace in 1877; like all his larger works it met with moderate success. In his last years he lived at Margate in Kent, and died there on 20 September 1886. Hatton's sheer versatility, his multifarious skills and interests, his energy and the exuberance of his good nature, characterised one of the extraordinary musicians of his age: and yet these same qualities led some to disparage his brilliance. His biographer for the Encyclopædia Britannica of 1911 wrote: 'Hatton excelled in the lyrical forms of music, and, in spite of his distinct skill in the severer styles of the madrigal, etc., he won popularity by such songs as "To Anthea", "Good-bye, Sweetheart", and "Simon the Cellarer", the first of which may be called a classic in its own way. His glees and part-songs, such as "When Evening's Twilight", were reckoned among the best of their class; and he might have gained a place of higher distinction among English composers had it not been for his irresistible animal spirits and a want of artistic reverence, which made it