But of this story what corroboration is there, and what do the books say? I have consulted the county history, and no mention is made of such a tradition, and can only assume that the author had never heard it--that he had not the curious Aubrey mind. He only says that it is a very early church--how early he does not know--and adds that it was built "for the convenience of the inhabitants of the place." An odd statement, seeing that the place has every appearance of having always been what it is, a forest, and that the inhabitants thereof are weasels, foxes, jays and such-like, and doubtless in former days included wolves, boars, roe-deer and stags, beings which, as Walt Whitman truly remarks, do not worry themselves about their souls. With this question, however, we need not concern ourselves. To me, after stumbling by chance on the little church in that solitary woodland place, the story of its origin was accepted as true; no doubt it had come down unaltered from generation to generation through all those centuries, and it moved my pity yet was a delight to hear, as great perhaps as it had been to listen to the beautiful chimes many times multiplied from the wooded hill. And if I have a purpose in this book, which is without a purpose, a message to deliver and a lesson to teach, it is only this--the charm of the unknown, and the infinitely greater pleasure in discovering the interesting things for ourselves than in informing ourselves of them by reading. It is like the difference in flavour in wild fruits and all wild meats found and gathered by our own hands in wild places and that of the same prepared and put on the table for us. The ever-varying aspects of nature, of earth and sea and cloud, are a perpetual joy to the artist, who waits and watches for their appearance, who knows that sun and atmosphere have for him revelations without end. They come and go and mock his best efforts; he knows that his striving is in vain--that his weak hands and earthy pigments cannot reproduce these effects or express his feeling--that, as Leighton said, "every picture is a subject thrown away." But he has his joy none the less; it is in the pursuit and in the dream of capturing something illusive, mysterious, and inexpressibly beautiful. Chapter Two: On Going Back