There were capstan, pumping, and hauling chanties, and those used in furling sail, apart from the sailors’ songs pure and simple. The sea chanty was generally commenced by a leader—the chanty man, who would perhaps string a few extemporary rough rhymes together, fitted to a well-known tune, while the men joined in a recognised nonsense chorus as they did the pulling, thrusting, or other work required. The Chanties mostly in evidence amongst the English, or English-speaking, sailors are “Whiskey for my Johnnie,” “Haul the bowline,” “We’re all bound to go,” “The Rio Grande,” “Reuben Ranzo,” “Tom’s gone to Ilo,” “Storm Along,” “Lowlands,” “Santa Anna,” “Sally Brown,” “Banks of Sacramento,” and many others, copies of which, with most of the above, are to be found in the _Folk-Song Journals_. The fact cannot be ignored that there is decided American influence in most of the sea chanties, and that points to them being interchangeable between the English and the American sailor. The ships trading to San Francisco and other sailing vessels that took long voyages round the “Horn” were fit resting-places for the chanty. In former times, on the old man-of-war ships, a fiddler was frequently requisitioned, or the anchor was raised to the music of a fife. Songs of occupation appear to have lingered longest, in the United Kingdom, in the Hebrides, and quite recently there have been published in the _Folk-Song Journal_ a number of interesting examples collected by Miss Tolmie. Others have been obtained by Mrs Kennedy Fraser. The boat songs, or “Iorrams,” are a feature of Gaelic music, as are the “luinigs” sung by the women as songs to lighten work where there are a number of people employed at any one occupation. Gaelic music and song is outside the scope of this manual; although the subject of the work-songs used in the Highlands and Islands of Scotland is here lightly referred to for the purpose of indicating to the student that such a class of song is still in existence in the British Isles. XX. TRADITIONAL CAROLS That a large number of carols existed in a purely traditional form was somewhat of a revelation, even to the folk-song collector, when Miss Lucy Broadwood, Mr Cecil Sharp, and Dr Vaughan Williams published their “finds” in the _Folk-Song Journal_. Mr Robin H. Legge, as early as 1890, or before, had collected a number of traditional carols in Cornwall, but his valuable manuscript collection of them was accidentally destroyed.