It was with the Fancy that Weelkes made an early experiment of adding a vocal part quite independent of the strings. And he took for his vocal part the popular series of "Cryes" which were then common to the streets of London. He did not, as has so often been wrongly stated, "set the Cryes of London to music," but he took the words and the music of these old and very interesting things and added the vocal part to what was a real Fancy for strings. It is said Morley did the same thing, but I have, so far, failed to find any example of it. Ravenscroft took many of these same old Cryes and worked them up as Rounds, and Campion introduced _Cherry Ripe_ into a charming song "There is a Garden in her face" in 1617; but the _Humorous Fancy_ by Weelkes is, so far as I can see at present, the earliest of this kind of work. Later, in connection with Gibbons and Deering, I shall have much to say on this subject, as these composers also wrote _Humorous Fancies_, the vocal parts being the same old Cryes of London but treated in a more elaborate manner. Weelkes' example is very charming, and although his string parts are somewhat stilted, {32} yet there is always life in them. He makes one point which shows he was not altogether able to forget his Madrigals and Ballets. Like the latter, the _Fancy_ at one point leaves its regular course, and for a few bars a delightful Dance tune is introduced, to the words--whatever they mean--"Twincledowne Tavye." It is as if the vendors of fish, fruit and vegetables met in the street and had a bit of a frolic together. The Fancy is resumed with the Cryes of the Chimney Sweep, Bellows-Mender etc., and later on a beautiful song for the seller of "Broome" is introduced. The words of this song date back before Weelkes, being found with slight variation in an old play called _Three Ladies of London_, 1584. They are sung by a character named "Conscience" who enters with brooms, and sings the song. No doubt the tune given by Weelkes is the original one. The conclusion of this Fancy is very charming and rather like an Anthem: Then let us sing And so we will make an end With Alleluia. There are two MSS. of this work in the British Museum. I have followed the shorter version, {33} as the longer is not only rather dull and prolonged but includes a little deviation into vulgarity, and so is hardly suitable for modern ears. The "Alleluia" occurs in the longer MS. and I have included it in my version. It is fortunate that there are two sets of parts, as neither of them is complete. But having been so fortunate as to find these two sets I have been able to restore the missing part. The discovery of this Fancy is the reason why I select Weelkes instead of Wilbye, one of his great contemporaries, and I think all lovers of Shakespeare will be glad to make acquaintance with the music of the _Cryes of London_ which saluted the Poet's ears in his daily walks.