One of his most original pieces is the Capriccio of his D minor Suite, which is also unusually brilliant in color at times; and he has an Allegretto that is a scherzo of the good old whole-souled humor. Foote, in fact, is never sickly in sentiment. Of his rather numerous songs, the older English poets, like Marlowe, Sidney, Shakespeare, Suckling, and Herrick, have given him much inspiration. The song "It Was a Lover and his Lass" is especially taking. His three songs, "When You Become a Nun, Dear," "The Road to Kew," and "Ho, Pretty Page!" written by modern poets in a half-archaic way, display a most delicious fund of subtile and ironic musical humor. "The Hawthorn Wins the Damask Rose" shows how really fine a well conducted English ballad can be. Among his sadder songs, the "Irish Folksong," "I'm Wearing Awa'," and the weird "In a Bower" are heavy with deepest pathos, while "Sweet Is True Love" is as wildly intense and as haunting in its woe as the fate of the poor Elaine, whose despair it sings. This I count one of the most appealing of modern songs. [Music: IT WAS A LOVER AND HIS LASS ARTHUR FOOTE, Op. 10, No. 1. 1. It was a lover and his lass, With a hey and a ho, With a hey and a ho, and a hey, and a hey non-i-no! That o'er the green cornfield did pass, In the springtime, the springtime, The only pretty ring-time, When birds do sing hey ding a ding! Sweet lovers love the spring. 2. And therefore take the present time, With a hey and a ho, With a hey and a ho, and a hey, and a hey non-i-no! For love is crowned with the prime, In the springtime, the springtime, The only pretty ring-time, When birds do sing hey ding a ding! Sweet lovers love the Spring. (_Shakespeare._) Copyright, 1886, by Arthur P. Schmidt & Co.] His greatest work is undoubtedly his symphonic prologue to Dante's story of "Francesca da Rimini," for full orchestra. Without being informed upon the subject, I fancy a certain programmism in the prologue that is not indicated in the quotation at the beginning of the work: "Nessun maggior dolore, Che ricordarsi del tempo felice Nella miseria." The prologue, however, seems to me to contain more than the psychological content of these lines from the fifth canto of the "Inferno."