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power brings with it a love of war and conquest. Then the national feeling gives place to individual ambition, aristocracy usurps the throne of popular liberty and the history closes.

The first Roman names that are presented to us differ essentially from those of primitive Greece, showing that the nation was developed in a different manner. The early Romans were at once simpler and more advanced than the early Greeks. Amongst the earliest Roman names are Ancus, A-servant; Servius, Slave; Marcus, Manly; Valerius, An-eagle; Cincinnatus, Having-curly-hair; Dentatus, Toothed; Barbatus, Bearded, and Curtius, Short; all of which are of the simplest class. We also find Tanaquil, Eagle-like; Corvus, A-crow; Gracchus, Jackdaw; and Mus, Mouse; names of creatures well known in an agricultural community. There is still another class of names like Coriolanus, Worker-in-leather; Camillus, Attendant-at-sacrifice; Agricola, A-farmer.

These names give us a good portrait of Rome in her early days. They tell us of a simple people, domestic in their habits, given to agriculture and trade, civilized, peaceful, and industrious.

In later days, names more frequently seen are Augustus, meaning Stern; Nero, Strong; Pompey, Splendid; Cato, Cautious; Aemilius, A-rival; Aurelius, Golden; and Opimus, Rich. The tendency is in a measure similar to that which we observed in the later days of Grecian history; but in a less marked degree. In every period we find a large proportion of the most primitive names. Claudius, Lame; Scipio, A staff; Crassus, Slow; Flaccus, Lop-eared; prevail even under the empire. Thus we learn from the names that the true Roman always loved simplicity. There was less of art among them than among the Greeks. The love of nature and the natural was inborn.

History confirms these facts. Cicero loved to escape from the noise of the forum and the anxious cares of the consulship and give himself to quiet meditation in his Tusculan villa. Horace, too, was wont to mourn over the degeneracy of his age from the pleasant seclusion of his farm at Tarentum.

Our review of English historic names must of necessity begin with those of the Saxon period: for owing to the com

pleteness of the Anglo-Saxon conquest, the early British names have almost totally disappeared.

All are familiar with the names of the pirate brothers, Hengist and Horsa, who came to assist the Britons against their enemies in the North. Both names signify A horse. Like the "Hippos" of the Greeks, they indicate the martial character of the people. Soon after the conquest we find many names ending in wulf, which is the same as the modern wolf. Among them are Ethel-wulf, Great-wolf; Ead-wulf, Noblewolf; Arnulf, and others. This is the same class of names that was so common among the early Greeks, and it betokens a similar state of society. The Saxons of this period were evidently lovers of the chase and admirers of physical courage.

As time passes on, these names gradually disappear, and in their place we find compounds of Ed, signifying truth. Edward is Truth-ward; Ed-mund, Truth-speaker; Ed-win, Truth-winning; Ed-gar, Truth-weapon. Compounds with fred, meaning peace, are also common, as in Alfred, Allpeace; Win-fred, Winning-peace; Ethel-fred, Great-peace, etc. A third element characteristic of the same period is dred, which is an old form of the word dread, but conveys more nearly the idea of reverence or religious fear. It appears in E-dred, Happy-fear; Mor-dred, More-fear; Al-dred, Allfear. Such a series of names plainly indicates the rise of moral and religious ideas in the Saxon mind, combined with the utmost simplicity. We need nothing but these names to tell when Christianity was first introduced into Saxon England. It is also worthy of note that in these names there is nothing artificial. They were the words used in common conversation, applied without change as names of persons.

Suddenly, towards the close of the eleventh century, a great change takes place in English nomenclature. Edwards, Alfreds, and Edgars disappear from, the higher ranks of life to make room for Williams, Henrys, and Charleses, together with many other names which we recognize as being borrowed from the Greek of the New Testament, though with various alterations of form. These are Norman-French names; and the fact that they so quickly displace the older Saxon names in all the higher ranks of life tells the story of the Norman conquest.

As to the character of the conquering people, what do they tell us? The fact that they are mostly names received from a foreign source speaks of culture and education. It also argues a degree of artificiality, since the meaning of the names becomes obscured, and they seem to be applied on account of association rather than because of their etymological significance. In contrast with Saxon bluntness we see a clear proof of art and refinement.

As centuries pass, the Saxon names begin to rise again from obscurity, and sovereigns and nobles received names from either language without discrimination, plainly indicating the amalgamation of the two races into one composite people.

But the Saxon names no longer have the significance that they once had; for while the names have remained the same the language has undergone great changes, and the meaning of the names is not apparent at sight, as in earlier times.

Still later in the history we find a new turn of sentiment among a certain class of the people, and Old Testament names come into popular favor. Jeremiah, Obadiah, David, and Habakkuk are found on every hand. But even these ancient names do not satisfy the growing tendency of the age, which is peculiarly religious. Then follows a series of names composed of Bible words or phrases, such as Accepted, Redeemed, Faint-not, Make-peace and Lament. The following names have been taken from an English jury list in Puritan times: Redeemed Compton, God-reward Smart, Accepted Trevor, and one, by a rather suggestive combination, is Called Lower. The increasing absurdity of the age and the tendency towards cant shows itself in such names as Kill-sin, Be-stedfast, Becourteous Be-faithful, and there are many longer ones. find one Search-the-Scriptures, also Stand-fast-on-high, Fightthe-good-fight-of-faith, Be-of-good-comfort, Zeal-of-the-land, Hew-Agag-in-pieces-before-the-Lord, and Obadiah-bind-theirkings-in-chains-and-their-nobles-with-links-of-iron, are also gen

uine Puritan names.

We

One Puritan maiden, being asked for her baptismal name, replied, "Through-much-tribulation-we-enter-the-kingdom-ofheaven, but for short they call me Tribby." About the same time is recorded the name of a child, Job-rakt-out-of-the-ashes,

who was not a Puritan. Such names remind us of the less authentic but hardly more ludicrous account of a child named Rachel-weeping-for-her-children-and-refusing-to-be-comforted

because-they-were-not Smith.

All who have read English history will remember the famous Barebone's Parliament, named from its leader, PraiseGod Barebone. But not all are aware that this same PraiseGod Barebone had two brothers, one of whom was named Christ-came-into-the-world-to-save Barebone, and the other, IfChrist-had-not-died-for-thee-thou-hadst-been-damned Barebone. The latter was not inappropriately nicknamed Damned Barebone.

That names could grow to such absurd forms and proportions shows the religious monstrosity of the age. Like all other unnatural developments, it soon subsided and the stream of popular names returned to its proper channel, retaining only the best elements of the recent growth. Such names as Grace, Mercy, Faith, and Patience will never die.

As we approach the more modern period of English history, we pause in dismay. The view is kaleidoscopic in variety, and unlimited in extent. Wait till the age becomes historic, and then let some bold adventurer see what he can make out of its nomenclature. We have already gone far enough for our purpose. The Saxon conquest, the introduction of Christianity, the Norman conquest, the fusion of Saxons and Normans, and the Puritan movement in religion, have all been stamped on the names of the different periods as legibly as the names of the Roman emperors on ancient coins.

It is impossible in a few pages to treat such a subject with fulness. We can but hint at lines of thought and investigation that might be followed to a great distance. We can only illustrate, and that in merest outline, without approaching the dignity of proof. Yet we may plainly see, even in so hasty a glance, that names have a real historic value and significance. Whether they are given with a knowledge of their meaning, or from mere association, makes little difference. In any case they will betray many secrets concerning the family and the nation to which they belong. Given the names of a people, and we can surely tell much of that people's character and history.

CURRENT

LITERATURE.

HOW TO JUDGE OF A PICTURE.* It is safe to say that the vast majority of people not only do not know how "to judge of a picture," but most of them are very ready to confess their ignorance. Books without number have been written to instruct those who wish to learn, but those who have written them differ so much among themselves that the "uncritical lovers of art" are usually discouraged. The author of this book has already gained reputation by what he has contributed to the abundant literature of the subject. In this new volume he has been especially successful. He has avoided those subjects on which artists and connoisseurs disagree, and has presented in a condensed form-in a little 16mo. of about one hundred and fifty pages the most important principles which are accepted by all. What he says will not confuse the reader who is without technical knowledge, and those who know something about the technique of art will be charmed with the clearness and freshness with which he writes.

A large part of the book is devoted to those explanations which will teach the tyro how to judge of the mechanical part of an artist's work; and, it must be confessed, in the case of most pictures, this is about the only thing that will repay much study. The skill which any practical workman shows in his special craft is a thing which always gives delight to a fellow-craftsman, or to any person who can appreciate his work. So it is in Art. In judging of a picture, one must understand something of the nature and character of the mechanical skill displayed by the artist. This cannot be passed by without notice, though there are other things which are really of much more importance in forming an estimate of the best pictures. Still the technique of art is of great importance, and there is no royal road to learning how to judge of it. Very valuable suggestions may be made which will be of assistance, but long continued observation and study are needed before a person can judge intelligently.

*How to Judge of a Picture. Familiar talks in the gallery with the uncritical lovers of art. By JOHN C. VAN DYKE. Chautauqua Press. New York: Phillips

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