One of the most celebrated volumes on shanties produced in the 20th century is Stan Hugill's "Shanties from the Seven Seas" (1961). It is the largest of its kind, owing to Hugill's methodology and chronological position. With respect to methodology, Hugill aimed to be as inclusive as possible—to account for and to present, if sometimes only in fragments, any and all items of shanty repertoire that he was currently able to find. Any song that he had heard or read being attested as having been ever "used as shanty" was included—regardless of whether that song was not generally known as a shanty or if its use as a shanty was rare and incidental. The result is a varied portrait of the genre, highlighting its maximum diversity without, however, giving a focused sense of what songs were most common during the heyday of shanties or in latter eras. Hugill readily included more recently popular songs—those that evidently were not sung until after the shanty genre was experiencing decline, but which were extant when Hugill sailed (1920s–40s). He also culled from the major collections of non-English-language sailor work songs. Hugill's practice of liberally culling from all major prior works, "in combination with" original material from his own field experiences, makes it a handy sourcebook for performers, but a difficult work to assess in terms of historical accuracy.