of the tune "Fisk," where now stands the honored name of this sainted singer.

The tune "Shortle" was named for Dr. Henry Shortle, late of Provincetown, Massachusetts, the father-in-law of the composer, Charles G. Goodrich. Dr. Shortle as Sunday school superintendent, class leader, and one of the founders of the Yarmouth Camp Meeting, became known to Methodists throughout eastern Massachusetts. Many remember with emotion his power in prayer and testimony. He died in September, 1892, at the age of nearly fifty-eight.

"Emilie," written in 1880 by John W. Baume, in Fresno, California, where he was organist in the Presbyterian church, was named for the composer's sister Emily. "Eighmey" was named for C. H. Eighmey, of Dubuque, Iowa, who is a leading figure in the Methodist Church not only in his own town, but also in the State in which he lives. "Frederick" was a title chosen by its composer, George Kingsley, because it was dedicated to the Rev. Frederick T. Gray. The Rev. Samuel Rutherford, a much-persecuted Scotch nonconformist of the seventeenth century, wrote the hymn "The sands of time are sinking" which was long sung to the tune "Rutherford." In our Hymnal the tune is used to other words.

Forty-five of our tunes are named after saints, following a method of nomenclature especially popular with the English composers. This is less than half the number of saintly titles in either the Wesleyan Methodist Hymn Book or the Hutchins Hymnal. Here again Dykes is represented by eight, and Barnby

and Sullivan by four each. Many of these saints are unfamiliar to most of us, and, indeed, some probably never received canonization outside of a hymn book. Some of our tune titles give only the name, and omit the word "Saint," which often precedes it in other hymnals. For instance, our tune "Jude," written by the English composer, William H. Jude, is usually called elsewhere "St. Jude," though the saintly title need not argue any relationship between the composer and the "three-named disciple." "St. Gertrude" (Onward, Christian soldiers!) was dedicated by Sir Arthur Sullivan to Mrs. Gertrude Clay Ker-Seymer, at whose home in Hanford he was a guest when it was written. Here he wrote also our tune "Hanford."

Many of these saints' names have been given to tunes from the names of the churches in which the composers at the time have been organists or musical directors. In "St. Oswald" Church, Durham, Dr. Dykes for years was vicar, and is now buried there. His son, a professor at the Royal College of Music, was named John St. Oswald Dykes. Sir George J. Elvey, succeeding H. Skeats, Jr., was organist from 1835 to 1882 at "St. George's, Windsor." William Croft was appointed organist at "St. Anne's" at Soho, when the new organ was erected in 1700.

Other titles have been taken from churches. "Asbury" was composed by the late Claude W. Harrington for a celebration in Asbury Methodist Episcopal Church, Rochester, New York. "Sardis" was one of the seven churches mentioned in the New Testament.

Nearly a hundred of the titles are the names of

towns or cities. Five of these are mentioned in the Bible. "Nicæa" was a town in Asia Minor where the Ecumenical Council of A. D. 325 established and developed the doctrine of the Trinity. Hence our hymn to the Trinity, "Holy, holy, holy," gives the tune its name, "Nicæa.' "Nicæa." Most of the town names are in Great Britain. England reciprocates, however; for in the Primitive Methodist Hymnal we note that our "Webb" is called "New York," our "Hamburg" called "Boston," to which are also added a "St. Louis,' two "Brooklyns," and even a "Paterson."

Some of the town-names denote the composer's birthplace, as "Holmfirth," a town in the West Riding of Yorkshire, where the Rev. Dr. Benjamin Gill was born, and "Racine" near the birthplace of Professor Lutkin. "Rotterdam" was the birthplace of Berthold Tours, the composer. His tunes "Gouda" and "Deventer" also derive their titles from towns in his native land of Holland. "Kolding," "Copenhagen," and "Kiel," all in Denmark, are the birthplaces respectively of Professor Lutkin's father, mother, and the great-grandfather of Mrs. Lutkin. The first of these tunes is sung to a hymn about the greatest of all birthplaces, Bethlehem. "Middletown," Connecticut, the seat of Wesleyan University, has been for years the home of Professor C. T. Winchester, composer of the melody of that name; and it is also the home of Professor Karl P. Harrington, arranger of the harmony.

"Prescott" and "Belleville" are towns in Canada, with which the history of Mrs. Lutkin's family is con

nected. "Orono," Maine, the seat of the University of Maine, was for years the home of Professor Karl P. Harrington. Barnby was organist from 1871 to 1886 at Saint Anne's, "Soho," where he instituted the great annual Bach Festival. The new tunes "Nashville," "Plymouth," and "Washington" commemorate in their titles the cities where the Joint Commission met in preparing the Hymnal, and "Evanston" a meeting place of the Committee on Tunes. It is unfortunate that other tunes of these same four names exist in other hymnals. "Hursley" was the place where John Keble, author of "The Christian Year," and "Sun of my soul," was vicar from 1835 until his death in 1866.

Of over a score of tunes named after countries or States, three are mentioned in the Bible: "Gilead," "Goshen," "Judea"; and nine others indicate the nationality of their composers. Also by titles taken from the names of cities, the composer's nationality is sometimes indicated. "Crimea" has no special significance save as it illustrates the fondness of the composer, Mr. Thoro Harris, for geographical nomenclatures, especially those of unusual flavor. Some of his titles in other hymnals are, "Takoma," "Sligo," "Berwyn," "Arizona," "Oklahoma," "Benning," "Anacostia," and "Quebec."

Half of the eight mountains or hills named in the tune titles are in the Bible. The river "Jordan," the brook "Kedron," and the pool of "Siloam" are scriptural waters. It had been more appropriate to the words if the titles "Bethel" and "Bethany" were interchanged. "Bethel," the place of Jacob's dream,

is the name of the tune to "My faith looks up to thee, Thou Lamb of Calvary"; while "Bethany," which is situated on the slope of the Mount of Olives, is the name of the tune to "Nearer, my God, to thee," founded upon Jacob's dream.

It is interesting to observe the methods of tunenaming peculiar to certain composers. We have already noted the Anglican fondness for Latin and for saintly titles, and the geographical tastes of Mr. Harris. Richard Redhead was accustomed to use his own name and a number. Thus our "Gethsemane" was originally known as "Redhead No. 76," as it still appears in the Episcopal hymnals along with four other Redhead numbers. Lightwood in his book on tunes has called our attention to Dykes's fondness for naming tunes after places associated with incidents in his life. He says that Dykes's career may be traced in the names he gave to some of his tunes. Among these our "Hollingside" is notable as the name of Dykes's cottage, about a mile from Durham. Dykes once named a tune "Sekyd"-his own name spelled backward. The Rev. N. Curnock, he also tells us, chose for many of the tunes of the new Wesleyan Methodist Hymn Book names associated with the early history of Methodism, as "Castle Street," where stood for many years the Methodist Publishing House; "St. Antholin," the London church, where John Wesley preached so often; "Gwennap," the pit in Cornwall famous for the Wesley services; "Moorfields" and "Aldergate Street," where many of the greatest Methodist meetings were held in the earlier days.