'Tis so easy to get from London to Bath, by merely stepping into a railway carriage which takes you smoothly without a stop in two short hours from Paddington, that I was amazed at myself in having allowed five full years to pass since my previous visit. The question was much in my mind as I strolled about noting the old-remembered names of streets and squares and crescents. Quiet Street was the name inscribed on one; it was, to me, the secret name of them all. The old impressions were renewed, an old feeling partially recovered. The wide, clean ways; the solid, stone-built houses with their dignified aspect; the large distances, terrace beyond terrace; mansions and vast green lawns and parks and gardens; avenues and groups of stately trees, especially that unmatched clump of old planes in the Circus; the whole town, the design in the classic style of one master mind, set by the Avon, amid green hills, produced a sense of harmony and repose which cannot be equalled by any other town in the kingdom.

This idle time was delightful so long as I gave my attention exclusively to houses from the outside, and to hills, rocks, trees, waters, and all visible nature, which here harmonizes with man's works. To sit on some high hill and look down on Bath, sun-flushed or half veiled in mist; to lounge on Camden Crescent, or climb Sion Hill, or take my ease with the water-drinkers in the spacious, comfortable Pump Room; or, better still, to rest at noon in the ancient abbey—all this was pleasure pure and simple, a quiet drifting back until I found myself younger by five years than I had taken myself to be.

I haunted the abbey, and the more I saw of it the more I loved it. The impression it had made on me during my former visits had faded, or else I had never properly seen it, or had not seen it in the right emotional mood. Now I began to think it the best of all the great abbey churches of England and the equal of the cathedrals in its effect on the mind. How rich the interior is in its atmosphere of tempered light or tender gloom! How tall and graceful the columns holding up the high roof of white stone with its marvellous palm-leaf sculpture! What a vast expanse of beautifully stained glass! I certainly gave myself plenty of time to appreciate it on this occasion, as I visited it every day, sometimes two or three times, and not infrequently I sat there for an hour at a stretch.

Sitting there one day, thinking of nothing, I was gradually awakened to a feeling almost of astonishment at the sight of the extraordinary number of memorial tablets of every imaginable shape and size which crowd the walls. So numerous are they and so closely placed that you could not find space anywhere to put your hand against the wall. We are accustomed to think that in cathedrals and other great ecclesiastical buildings the illustrious dead receive burial, and their names and claims on our gratitude and reverence are recorded, but in no fane in the land is there so numerous a gathering of the dead as in this place. The inscription-covered walls were like the pages of an old black-letter volume without margins. Yet when I came to think of it I could not recall any Bath celebrity or great person associated with Bath except Beau Nash, who was not perhaps a very great person. Probably Carlyle would have described him as a "meeserable creature."

Leaving my seat I began to examine the inscriptions, and found that they had not been placed there in memory of men belonging to Bath or even Somerset. These monuments were erected to persons from all counties in the three kingdoms, and from all the big towns, those to Londoners being most numerous. Nor were they of persons distinguished in any way. Here you find John or Henry or Thomas Smith, or Brown, or Jones, or Robinson, provision dealer, or merchant, of Clerkenwell, or Bermondsey, or Bishopsgate Street Within or Without; also many retired captains, majors, and colonels. There were hundreds more whose professions or occupations in life were not stated. There were also hundreds of memorials to ladies—widows and spinsters. They were all, in fact, to persons who had come to die in Bath after "taking the waters," and dying, they or their friends had purchased immortality on the walls of the abbey with a handful or two of gold. Here is one of several inscriptions of the kind I took the trouble to copy: "His early virtues, his cultivated talents, his serious piety, inexpressibly endeared him to his friends and opened to them many bright prospects of excellence and happiness. These prospects have all faded," and so on for several long lines in very big letters, occupying a good deal of space on the wall. But what and who was he, and what connection had he with Bath? He was a young man born in the West Indies who died in Scotland, and later his mother, coming to Bath for her health, "caused this inscription to be placed on the abbey walls"! If this policy or tradition is still followed by the abbey authorities, it will be necessary for them to build an annexe; if it be no longer followed, would it be going too far to suggest that these mural tablets to a thousand obscurities, which ought never to have been placed there, should now be removed and placed in some vault where the relations or descendants of the persons described could find, and if they wished it, have them removed?

But it must be said that the abbey is not without a fair number of memorials with which no one can quarrel; the one I admire most, to Quin, the actor, has, I think, the best or the most appropriate epitaph ever written. No, one, however familiar with the words, will find fault with me for quoting them here:

Quin's monument strikes one as the greatest there because of Garrick's living words, but there is another very much more beautiful.

I first noticed this memorial on the wall at a distance of about three yards, too far to read anything in the inscription except the name of Sibthorpe, which was strange to me, but instead of going nearer to read it I remained standing to admire it at that distance. The tablet was of white marble, and on it was sculptured the figure of a young man with curly head and classic profile. He was wearing sandals and a loose mantle held to his breast with one hand, while in the other hand he carried a bunch of leaves and flowers. He appeared in the act of stepping ashore from a boat of antique shape, and the artist had been singularly successful in producing the idea of free and vigorous motion in the figure as well as of some absorbing object in his mind. The figure was undoubtedly symbolical, and I began to amuse myself by trying to guess its meaning. Then a curious thing happened. A person who had been moving slowly along near me, apparently looking with no great interest at the memorials, came past me and glanced first at the tablet I was looking at, then at me. As our eyes met I remarked that I was admiring the best memorial I had found in the abbey, and then added, "I've been trying to make out its meaning. You see the man is a traveller and is stepping ashore with a flowering spray in his hand. It strikes me that it may have been erected to the memory of a person who introduced some valuable plant into England."

"Yes, perhaps," he said. "But who was he?"

"I don't know yet," I returned. "I can only see that his name was Sibthorpe."

"Sibthorpe!" he exclaimed excitedly. "Why, this is the very memorial I've been looking for all over the abbey and had pretty well given up all hopes of finding it." With that he went to it and began studying the inscription, which was in Latin. John Sibthorpe, I found, was a distinguished botanist, author of the Flora Graeca, who died over a century ago.

I asked him why he was interested in Sibthorpe's memorial.

"Well, you see, I'm a great botanist myself," he explained, "and have been familiar with his name and work all my life. Of course," he added, "I don't mean I'm great in the sense that Sibthorpe was. I'm only a little local botanist, quite unknown outside my own circle; I only mean that I'm a great lover of botany."

I left him there, and had the curiosity to look up the great man's life, and found some very curious things in it. He was a son of Humphrey Sibthorpe, also a great botanist, who succeeded the still greater Dillenius as Sherardian Professor of Botany at Oxford, a post which he held for thirty-six years, and during that time he delivered one lecture, which was a failure. John, if he did not suck in botany with his mother's milk, took it quite early from his father, and on leaving the University went abroad to continue his studies. Eventually he went to Greece, inflamed with the ambition to identify all the plants mentioned by Dioscorides. Then he set about writing his Flora Graeca; but he had a rough time of it travelling about in that rude land, and falling ill he had to leave his work undone. When nearing his end he came to Bath, like so many other afflicted ones, only to die, and he was very properly buried in the abbey. In his will he left an estate the proceeds of which were to be devoted to the completion of his work, which was to be in ten folio volumes, with one hundred plates in each. This was done and the work finished forty-four years after his death, when thirty copies were issued to the patient subscribers at two hundred and forty guineas a copy. But the whole cost of the work was set down at 30,000 pounds! A costlier work it would be hard to find; I wonder how many of us have seen it?

But I must go back to my subject. I was not in Bath just to die and lie there, like poor Sibthorpe, with all those strange bedfellows of his, nor was I in search of a vacant space the size of my hand on the walls to bespeak it for my own memorial. On the contrary, I was there, as we have seen, to knock five years off my age. And it was very pleasant, as I have said, so long as I confined my attention to Bath, the stone-built town of old memories and associations—so long as I was satisfied to loiter in the streets and wide green places and in the Pump Room and the abbey. The bitter came in only when, going from places to faces, I began to seek out the friends and acquaintances of former days. The familiar faces seemed not wholly familiar now. A change had been wrought; in some cases a great change, as in that of some weedy girl who had blossomed into fair womanhood. One could not grieve at that; but in the middle-aged and those who were verging on or past that period, it was impossible not to feel saddened at the difference. "I see no change in you," is a lie ready to the lips which would speak some pleasing thing, but it does not quite convince. Men are naturally brutal, and use no compliments to one another; on the contrary, they do not hesitate to make a joke of wrinkles and grey hairs—their own and yours. "But, oh, the difference" when the familiar face, no longer familiar as of old, is a woman's! This is no light thing to her, and her eyes, being preternaturally keen in such matters, see not only the change in you, but what is infinitely sadder, the changed reflection of herself. Your eyes have revealed the shock you have experienced. You cannot hide it; her heart is stabbed with a sudden pain, and she is filled with shame and confusion; and the pain is but greater if her life has glided smoothly—if she cannot appeal to your compassion, finding a melancholy relief in that saddest cry:—

For not grief, nor sickness, nor want, nor care, nor any misery or calamity which men fear, is her chief enemy. Time alone she hates and fears—insidious Time who has lulled her mind with pleasant flatteries all these years while subtly taking away her most valued possessions, the bloom and colour, the grace, the sparkle, the charm of other years.

Here is a true and pretty little story, which may or may not exactly fit the theme, but is very well worth telling. A lady of fashion, middle-aged or thereabouts, good-looking but pale and with the marks of care and disillusionment on her expressive face, accompanied by her pretty sixteen-years-old daughter, one day called on an artist and asked him to show her his studio. He was a very great artist, the greatest portrait-painter we have ever had and he did not know who she was, but with the sweet courtesy which distinguished him through all his long life—he died recently at a very advanced age—he at once put his work away and took her round his studio to show her everything he thought would interest her. But she was restless and inattentive, and by and by leaving the artist talking to her young daughter she began going round by herself, moving constantly from picture to picture. Presently she made an exclamation, and turning they saw her standing before a picture, a portrait of a girl, staring fixedly at it. "Oh," she cried, and it was a cry of pain, "was I once as beautiful as that?" and burst into tears. She had found the picture she had been looking for, which she had come to see; it had been there twenty to twenty-five years, and the story of it was as follows.

When she was a young girl her mother took her to the great artist to have her portrait painted, and when the work was at length finished she and her mother went to see it. The artist put it before them and the mother looked at it, her face expressing displeasure, and said not one word. Nor did the artist open his lips. And at last the girl, to break the uncomfortable silence, said, "Where shall we hang it, mother?" and the lady replied, "Just where you like, my dear, so long as you hang it with the face to the wall." It was an insolent, a cruel thing to say, but the artist did not answer her bitterly; he said gently that she need not take the portrait as it failed to please her, and that in any case he would decline to take the money she had agreed to pay him for the work. She thanked him coldly and went her way, and he never saw her again. And now Time, the humbler of proud beautiful women, had given him his revenge: the portrait, scorned and rejected when the colour and sparkle of life was in the face, had been looked on once more by its subject and had caused her to weep at the change in herself.

To return. One wishes in these moments of meeting, of surprise and sudden revealings, that it were permissible to speak from the heart, since then the very truth might have more balm than bitterness in it. "Grieve not, dear friend of old days, that I have not escaped the illusion common to all—the idea that those we have not looked on this long time—full five years, let us say—have remained as they were while we ourselves have been moving onwards and downwards in that path in which our feet are set. No one, however hardened he may be, can escape a shock of surprise and pain; but now the illusion I cherished has gone—now I have seen with my physical eyes, and a new image, with Time's writing on it, has taken the place of the old and brighter one, I would not have it otherwise. No, not if I could would I call back the vanished lustre, since all these changes, above all that wistful look in the eyes, do but serve to make you dearer, my sister and friend and fellow-traveller in a land where we cannot find a permanent resting-place."

Alas! it cannot be spoken, and we cannot comfort a sister if she cannot divine the thought; but to brood over these inevitable changes is as idle as it is to lament that we were born into this mutable world. After all, it is because of the losses, the sadnesses, that the world is so infinitely sweet to us. The thought is in Cory's Mimnernus in Church:

From this sadness in Bath I went to a greater in Wells, where I had not been for ten years, and timing my visit so as to have a Sunday service at the cathedral of beautiful memories, I went on a Saturday to Shepton Mallet. A small, squalid town, a "manufacturing town" the guide-book calls it. Well, yes; it manufactures Anglo-Bavarian beer in a gigantic brewery which looks bigger than all the other buildings together, the church and a dozen or twenty public-houses included. To get some food I went to the only eating-house in the place, and saw a pleasant-looking woman, plump and high-coloured, with black hair, with an expression of good humour and goodness of every description in her comely countenance. She promised to have a chop ready by the time I had finished looking at the church, and I said I would have it with a small Guinness. She could not provide that, the house, she said, was strictly temperance. "My doctor has ordered me to take it," said I, "and if you are religious, remember that St. Paul tells us to take a little stout when we find it beneficial."

"Yes, I know that's what St. Paul says," she returned, with a heightened colour and a vicious emphasis on the saint's name, "but we go on a different principle."

So I had to go for my lunch to one of the big public-houses, called hotels; but whether it called itself a cow, or horse, or stag, or angel, or a blue or green something, I cannot remember. They gave me what they called a beefsteak pie—a tough crust and under it some blackish cubes carved out of the muscle of an antediluvian ox-and for this delicious fare and a glass of stout I paid three shillings and odd pence.

As I came away Shepton Mallet was shaken to its foundations by a tremendous and most diabolical sound, a prolonged lupine yell or yowl, as if a stupendous wolf, as big, say, as the Anglo-Bavarian brewery, had howled his loudest and longest. This infernal row, which makes Shepton seem like a town or village gone raving mad, was merely to inform the men, and, incidentally, the universe, that it was time for them to knock off work.

Turning my back on the place, I said to myself, "What a fool I am to be sure! Why could I not have been satisfied for once with a cup of coffee with my lunch? I should have saved a shilling, perhaps eighteen-pence, to rejoice the soul of some poor tramp; and, better still, I could have discussed some interesting questions with that charming rosy-faced woman. What, for instance, was the reason of her quarrel with the apostle; by the by, she never rebuked me for misquoting his words; and what is the moral effect (as seen through her clear brown eyes) of the Anglo-Bavarian brewery on the population of the small town and the neighbouring villages?"

The road I followed from Shepton to Wells winds by the water-side, a tributary of the Brue, in a narrow valley with hills on either side. It is a five-mile road through a beautiful country, where there is practically no cultivation, and the green hills, with brown woods in their hollows, and here and there huge masses of grey and reddish Bath stone cropping out on their sides, resembling gigantic castles and ramparts, long ruined and overgrown with ivy and bramble, produce the effect of a land dispeopled and gone back to a state of wildness.

A thaw had come that morning, ending the severest frost experienced this winter anywhere in England, and the valley was alive with birds, happy and tuneful at the end of January as in April. Looking down on the stream the sudden glory of a kingfisher passed before me; but the sooty-brown water-ouzel with his white bib, a haunter, too, of this water, I did not see. Within a mile or so of Wells I overtook a small boy who belonged there, and had been to Shepton like me, noticing the birds. "I saw a kingfisher," I said. "So did I," he returned quickly, with pride. He described it as a biggish bird with a long neck, but its colour was not blue—oh, no! I suggested that it was a heron, a long-necked creature under six feet high, of no particular colour. No, it was not a heron; and after taking thought, he said, "I think it was a wild duck."

Bestowing a penny to encourage him in his promising researches into the feathered world, I went on by a footpath over a hill, and as I mounted to the higher ground there before me rose the noble tower of St. Cuthbert's Church, and a little to the right of it, girt with high trees, the magnificent pile of the cathedral, with green hills and the pale sky beyond. O joy to look again on it, to add yet one more enduring image of it to the number I had long treasured! For the others were not exactly like this one; the building was not looked at from the same point of view at the same season and late hour, with the green hills lit by the departing sun and the clear pale winter sky beyond.

Coming in by the moated palace I stood once more on the Green before that west front, beautiful beyond all others, in spite of the strange defeatures Time has written on it. I watched the daws, numerous as ever, still at their old mad games, now springing into the air to scatter abroad with ringing cries, only to return the next minute and fling themselves back on their old perches on a hundred weather-stained broken statues in the niches. And while I stood watching them from the palace trees close by came the loud laugh of the green woodpecker. The same wild, beautiful sound, uttered perhaps by the same bird, which I had often heard at that spot ten years ago! "You will not hear that woodland sound in any other city in the kingdom," I wrote in a book of sketches entitled "Birds and Man", published in 1901.

But of my soul's adventures in Wells on the two or three following days I will say very little. That laugh of the woodpecker was an assurance that Nature had suffered no change, and the town too, like the hills and rocks and running waters, seemed unchanged; but how different and how sad when I looked for those I once knew, whose hands I had hoped to grasp again! Yes, some were living still; and a dog too, one I used to take out for long walks and many a mad rabbit-hunt—a very handsome white-and-liver coloured spaniel. I found him lying on a sofa, and down he got and wagged his tail vigorously, pretending, with a pretty human hypocrisy in his gentle yellow eyes, that he knew me perfectly well, that I was not a bit changed, and that he was delighted to see me.

On my way back to Bath I had a day at Bristol. It was cattle-market day, and what with the bellowings, barkings, and shoutings, added to the buzz and clang of innumerable electric tramcars and the usual din of street traffic, one got the idea that the Bristolians had adopted a sort of Salvation Army theory, and were endeavouring to conquer earth (it is not heaven in this case) by making a tremendous noise. I amused myself strolling about and watching the people, and as train after train came in late in the day discharging loads of humanity, mostly young men and women from the surrounding country coming in for an evening's amusement, I noticed again the peculiarly Welsh character of the Somerset peasant—the shape of the face, the colour of the skin, and, above all, the expression.

Freeman, when here below, proclaimed it his mission to prove that "Englishmen were Englishmen, and not somebody else." It appeared to me that any person, unbiassed by theories on such a subject, looking at that crowd, would have come to the conclusion, sadly or gladly, according to his nature, that we are, in fact, "somebody else."