Ancient and modern rudely jostle here, and the streets run on no regular plan. It is a provincial town turned industrial, and still surprised at the change: the any-shaped, no-shaped Market Place, where Boehm’s bronze statue of Michael Thomas Bass stands, remaining still in many ways that of an agricultural market town. But, nevertheless, there has been much pulling down and rebuilding. Among other places, the house where Joseph Wright—the celebrated painter “Wright of Derby”—lived, has disappeared, and modern business premises stand on the site. An iron tablet narrates the facts—but why? Such things do but advertise the shame and set a seal upon regret. Alas! there is no modern Joshua to bid time stand still—and for time to obey. One of the pleasantest features of the town is the fine park called the Arboretum. Here an interesting relic of the plague that raged in 1665 is placed. This is the so-called “Headless Cross,” or Market Stone, removed from Friar Gate, where it served as a means of communication between the stricken townspeople and the countryfolk, bringing in provisions. The market folk, coming with their mouths filled with tobacco, as a disinfectant, placed the meat and vegetables and dairy-produce they had brought upon the ground and witnessed the inhabitants drop their money into the hollow in the stone, filled with vinegar. With these strict precautions it was hoped to escape infection. [Illustration: “YOUNG MEN AND MAIDENS.”] [Sidenote: _ALL SAINTS’_] All Saints’ Church, the most important of the several in the town, possesses a tall and very beautiful late Perpendicular tower, built about 1520, according to legend, by the bachelors and spinsters of Derby. Still further, according to legend, it used to be the custom for the bachelors to ring the bells whenever a young woman born in the town was married. There is, unfortunately, no direct evidence that the tower really was the work of the bachelors and the spinsters. It was probably built from the money given by a wealthy townsman, Robert Liversage, a dyer by trade. A battered inscription, “Young men and maidens,” no doubt gave rise to the story. It is now generally believed, except by the humblest people, among whom tales of this romantic kind live longest, that the inscription was once simply the pious invitation, “Young men and maidens, old men and children, praise ye the Lord.” A cathedral-like size and breadth of proportion mark this fine tower, the product of the last days of Gothic, rising to a height of 174 feet above the pavement; and the quite humble old houses of the narrow street do but serve to show it to further advantage. It is heavily buttressed at the angles, in a manner sufficient to have made Ruskin storm, had he ever occasion to write of it; for it was his theory that towers should stand starkly four-square, without the aid of buttresses. But what would Gothic architecture be without those essential features! Something new and strange.