Morley attempted no other composition of the kind, for the very good reason that he did not supply a “public want” as do so many of our modern composers and authors. The reissue of his work in 1611 proved that it was appreciated at a later date, but at the time of the first publication the English people had not yet broken away from the habit of combining voices with musical instruments. So Morley had to capitulate, and in 1600 contented himself with pleasing the popular taste by bringing out “The first booke of Little Aires to sing and play to the Lute with the Base violl.” People delighted in singing these little “Aires” in those days. It was a favourite pastime and must have put a stop to a great deal of gossiping, scandalous chit-chat. The “Base violl,” like the guitar in the barber’s shop, was kept hanging on the wall, ready to hand, and when an unloquacious visitor appeared, how delightful it was to reach down the “Base violl” and sing a “Little Aire” to its accompaniment! John Maynard wrote a similar set of compositions which were also published by Snodham in the same year. These he named “The XII. Wonders of the World,” classified under the following headings:--“The Courtier,” “The Deune,” “The Souldiour,” “The Phisition,” “The Merchant,” “The Country Gentleman,” “The Bachelor,” “The Marryed Man,” “The Wife,” “The Widow,” “The Maide.” Each of the little songs are provided with an accompaniment for the lute and bass-viol. The style of the poetry is quite in the Gilbertian vein, as may be judged by the following lines purporting to describe the duties of a medical man:-- “Studie to uphold the slippery fate of man Who dies when we have done the best and all we can. From Practise and from bokes, I draw my learned skill Not from the knowne receipt or Pothecaries bill. The Earth my faults doth hide The World my cures doth see What youth and time effects is oft ascribed to me.” This curious and interesting little volume concludes with some “lessons” for the lute and viola da gamba, in all of which the player of the bow instrument never quits the first position. The whole is dedicated to Maynard’s “Honoured Lady and Mistris the Lady Joane Thymne of Cause Castle in Shropshire,” to whom he addresses a ponderous hyperbole on her gracious qualities beginning with the amiable wish that “Nestor’s years on earth, and Angels’ happiness in heaven” might be hers. * * * * *