Names: and Their Meaning

The Sunday in Mid-Lent when the Pope blesses the Golden Rose, and children and domestics out at service visit their mothers to feast upon Mothering Cakes, really owes its name of Mothering Sunday to the ancient custom of making offerings to “Mother Church” on the afternoon of this day. St. Grouse’s Day is a popular nickname given to the 12th of August (Grouse Day), when grouse shooting commences; and St. Partridge’s Day, to the 1st of September (Partridge Day), which opens the season for partridge shooting; while Sprat Day (Nov. 9th) is the first day for selling sprats in London. The expression Red Letter Day, signifying a past event generally referred to with pleasure, found its origin in the old almanacks, where the Festivals and Saints’ Days were printed in red ink and the rest in black. This arrangement still obtains in Roman Catholic countries.

Holiday is a corruption of Holy Day, or a day originally set apart by the Roman Catholic Church for the celebration of some feast in commemoration of an important event, or in honour of a particular saint. The word Almanac, also written Almanack, is derived from the Arabic al manah, to count; whereas Calendar is a contraction of the Latin calendarium, an account-book.

TEXTILES, EMBROIDERIES, AND LACE

Several of our textile fabrics are indebted for their names to the places where they were first manufactured. As examples: Damask Linens and Silks originally came from Damascus; Muslin from Moosul, in Mesopotamia; Nankeen from Nankin, in China; Calico from Calicut, on the Malabar Coast; Cashmere from the valley of Cashmere, in India; Dimity from Damietta, in Egypt; Valence from Valencia, in Spain; and Holland from the Netherlands. Cambric was first made at Cambray; Shalloon at Chalons; and Tarlatan at Tarare: each of these towns being situated in France. Worsted formerly comprised the staple industry of a town of that name in Norfolk; Cobourg is brought from Cobourg, in Germany; while Angola comes from the Portuguese territory so called on the West Coast of Africa. The coarse woollen cloth known as Frieze was originally imported from Friesland.

The name of Cotton is a modification of the Arabic qoton; Silk is derived from the Latin sericus, soft; and Satin from the Italian seta, a species of silk distinguished for its gloss and close texture. Variegated silk or other stuff bears the name of Brocade in accordance with the Italian verb broccare, to prick, to stitch, to figure; Damassin is a damask cloth interwoven with flowers, or silver, or gold; Sarsanet is a fine silk, originally made by the Saracens; Mohair is properly Moorhair, or the hair of the Angola goat introduced into Spain by the Moors; whereas Moire Antique is the French description of a watered silk worked up in the manner of that worn in the olden time. Chintz is a Persian word signifying spotted or stained; Taffety, or Taffeta, is a modification of the Persian tâftah, derived from taftan, to spin; Linen is an Anglo-Saxon rendering of the Latin linum, flax; and Lawn is simply fine linen bleached upon a lawn instead of the customary drying-ground. Pompadour received its name from Madame le Pompadour, the mistress of Louis XV. of France (born 1721, died 1764), who was the first to introduce it.

Swansdown is, of course, made from the down of swans; Moleskin is not the skin of the mole, but a strong cotton fabric or fustain having a smooth surface like the mole-skin; Merino is manufactured from the wool of the Merino sheep; and Alpaca from that of the alpaca, a species of llama found in Peru. Kersey is a corruption of Jersey, indicative of the place where this favourite woollen material was first produced. The dyed cotton stuff known as Gingham, out of which umbrellas were formerly made—hence the slang term for those articles—is so called after the native Javanese name pronounced ginggang. We may also conveniently add here that Blankets received their designation from Thomas Blanket, who first made them at Bristol as long ago as the year 1340.

The name of Velvet traces its origin from the Latin villus, shaggy hair; and Plush from pilus, a hair. Velveteen is a cotton velvet or a cloth in imitation of velvet. Fustian, derived from the Spanish fustan, is a generic term for the twilled cotton stuffs of which velvet, corduroy, &c., are the chief. Grogram is a corruption of the French gros-grain, meaning coarse-grained; whereas Corduroy is properly Cord du roy, King’s Cord, so called because, owing to its ribbed or corded surface, it was at one time considered superior to any other kind of cloth intended for masculine wear. Pina-cloth, a material much used for ladies’ dresses, is manufactured from the fibres of the pine-apple leaf; just as Grass-cloth is extensively worked up into light jackets for Indian wear from the Grass Cloth plant which abounds in China, Assam, and Sumatra. T-cloth comprises a special kind of cloth expressly manufactured in this country for exportation to India, and distinguished by a T marked upon it; while Broadcloth simply bears its name on account of its unusual width. The name of Twill is a modification of the German Zwillich, signifying trellis-work, and founded upon twillen, to separate in two, since this cloth presents the appearance of diagonal lines or ribs upon its surface. Tweed is a cloth made in the neighbourhood of the river Tweed; but it did not always bear this name. The cloth is really twill, and the altered designation arose out of the word being blotted in an invoice sent to James Locke, of London, who, conceiving it to look like “Tweed,” suggested that it might as well stand for the name of the cloth as any other. Plaid owes its name to the Gaelic peallaid, a sheepskin out of which the over-garments of the Highlanders were originally made. Check is but another name for Plaid, meaning checkered, i.e., marked with variegated or crossed lines; as, for example, a draught-board, of which the counters are, on account of their cross movements, called Checkers or Chequers.

The word Embroidery is a modern substantive evolved out of the old verb “Embordering,” by which was meant the adornment of any material with a border. Tapestry is derived, through the French tapisserie, from the Latin tapes, a carpet. The celebrated Bayeaux Tapestry, supposed to have been the work of Matilda, queen of William the Conqueror, and her maidens, took its name from the Norman town where it was discovered in 1728. Gobelin Tapestry preserves the memory of the Brothers Gobelin, the great French dyers (flourished 1470) whose house in Paris was acquired in 1662 by Louis XIV. for the production of tapestry and other works of ornamental design suitable for the adornment of palaces under the direction of M. Colbert. The more ancient name for Tapestry was that of Arras, in allusion to the town situated in the French Netherlands whence it chiefly came.

Having regard to Lace, it will suffice to observe that Lisle, Chantilly, Brussells, Honiton, &c., severally identify the Lace with the local centres where its manufacture is principally carried on; that Valenciennes is made at Valenciennes, in France; and that Colbertine derives its name from M. Colbert, the superintendent of the French Royal Lace Factories established by Louis XIV. in the seventeenth century. Lace is styled Point-lace when it is worked with the point of a needle; and Pillow-lace when produced by twisted threads around a series of pins arranged on a cushion. The latter, which has so greatly superseded the more costly point-lace, is said to have been the invention of Barbara Uttmann, of St. Annaberg, in the year 1561. The word Lace itself comes from the Latin laques, a noose or snare. Tulle, a species of network or lace, is indebted for its designation to the French town of that name where it was first made.

LITERARY PSEUDONYMS

So far from being chosen at random these are frequently the result of much premeditation. Voltaire (born 1694, died 1778), whose proper name was Arovet, composed out of this and the initials L. I. (le jeune) the anagram by which all his writings are identified. Again, Barry Cornwall is an imperfect anagram founded upon Bryan Waller Procter (born 1790, died 1874), the poet’s real name; whereas Yendys, the signature of Sydney Dobell (born 1824, died 1874), was merely the Christian name reversed. To cite an instance of another class: Charles James Apperley, of Denbighshire, author of “The Chase, the Turf, and the Road,” and a regular contributor to The Quarterly Review could scarcely have hit upon a more fitting pseudonym than that of Nimrod, who “was a mighty hunter before the Lord,” alluded to in Genesis x. 9. Such a choice will be the better understood, perhaps, when it is mentioned that out of regard for the sporting tastes of his esteemed contributor, Mr. Pittman, the proprietor of the Quarterly kept a stud of hunters for his especial use. Equally appropriate was the pseudonym Zadkiel, denoting the angel of the planet Jupiter, adopted by Lieutenant Richard James Morrison, author of “The Prophetic Almanack,” which still survives as an annual publication.

Washington Irving selected the nom de plume of Knickerbocker for his “History of New York,” in allusion to the wide breeches worn by the original settlers of that city. The true account of how Charles Lamb (born 1775, died 1834) adopted the name of Elia for his “Essays” is as follows:—His first contribution to the “London Magazine” being a description of the Old South Sea House, in which he had spent several months of his noviciate as a clerk, he at the very moment of appending his signature, bethought himself of a gay, light-hearted foreigner who used to flutter about there; and, as a mere matter of whim, he wrote down the name of that individual instead of his own. Boz, the early nom de plume of Charles Dickens (born 1812, died 1870), arose out of the nickname of Moses conferred by him upon a younger pet brother in honour of Moses Primrose in the “Vicar of Wakefield.” The other children of the family, however, found it impossible to utter a nearer pronunciation to the name than “Bozes,” which presently became shortened in “Boz”; and the latter hit the fancy of our young author sufficiently to lead him to its adoption at that period of his literary career when he lacked the confidence to appear before the world under his own name. Out of an analogous incident sprang Ouida, the pseudonym of one of the most widely-read lady novelists of the present day. Her actual name is Louise de la Ramée (born in 1840); but remarking the infantile conversion of Louise into “Ouida,” she was struck by the novelty of such a nom de plume, and immediately adopted it. Another lady novelist of probably higher attainments assumed the name of George Sand (born 1804, died 1876) as the outcome of her attachment to a young student named Jules Sand, or rather Sandeau, with whom she collaborated in the production of “Rose et Blanche,” her first novel. The real name of this lady was Mdlle. Dupin, afterwards changed by marriage to Madame Dudevant.

It may be deemed interesting to learn also that Artemus Ward was an actual name borne by an eccentric showman with whom Charles Farrar Browne, the American humorist (born 1834, died 1867) often came into personal contact; and, further, that Samuel Langhorne Clemens (born in 1835) owes his singular pseudonym to the fact of having been employed in early life as a pilot on one of the Mississippi River steamboats. The nautical phrase for taking soundings, Mark Twain, or, in other words, “mark two fathoms,” suggested the name under which the works of the latter have become widely popular on both sides of the Atlantic.

Finally, not every one is aware that F. M. Allen, the pseudonym of Mr. Edmund Downey, author of “The Voyage of the Ark,” “Through Green Glasses,” and some other books of Irish humour, was his wife’s maiden name.

COUNTERFEIT PRESENTMENTS

A Portrait, so called from the Latin protrahere, to draw forth, is produced by the individual skill of an artist; whereas a Photograph, conformably to the two Greek words photos, light, and graphein, to write, is obtained by the action of sunlight upon a chemically prepared surface, such as silver, zinc, copper, glass, or paper.

The earliest examples of portraiture were styled Miniatures because they originated from the head of the Virgin or of some well-known saint introduced into the initial letters of illuminated rubics by the Miniatori, a number of monks noted for their skill in painting with minium, or red lead. The reason why the portraits of monarchs are represented on coins and medals in Profile dates back to Antigonus, one of the generals of Alexander the Great, who, having lost one eye, ordered his likeness to be drawn from a side view. This occurred in the year 330 b.c. The term is a corruption, by way of the French profil, of the Latin perfilum, compounded out of per, through, by, and filum, a line, a thread. A profile cut out of black paper bears the name of a Silhouette in honour of Etienne de Silhouette, the French Comptroller of Finance under Louis XV. (born 1709, died 1767), who was the first to have his features outlined in this manner.

The earlier descriptions of photographs were respectively styled Talbotypes, Daguerreotypes, and Ferriertypes, after the names of their inventors. The smaller-sized photographs at present in use were originally described as Cartes-de-Visite from the practice of the Duc de Parma, who, while staying at Nice in the year 1857, had his photograph produced on the back of his visiting cards. The designation Vignette, which expresses the French diminutive of vine or tendril, owes its origin to the vine-leaves or branches that properly surround the photographs produced in this style. A photograph of the larger size is called a Cabinet because it forms a picture suited to the walls of a cabinet or very small room. A three-quarter-length photograph or portrait is styled among artists a Kit-Kat, in allusion to the portraits of the original members of the “Kit-Kat Club,” which were painted by Sir Godfrey Kneller for Jacob Tonson, the secretary, to suit the dimensions of the room in which the Club was latterly held at his villa at Barn Elms. Similarly, a canvas measuring 28 inches by 36 inches is styled a Kit-Kat Canvas because this was the uniform size of the famous “Kit-Kat Club portraits.” We may as well add here that the Kit-Kat Club derived its name from Christopher Kat, a pastrycook of King Street, Westminster, in whose house the thirty noblemen and gentlemen who formed themselves into a Club for the purpose of promoting the Protestant Succession in the year 1703 held their first meetings.

LONDON INNS AND GARDENS

In our article on Tavern Signs we confined ourselves to a general survey of the subject; we now purpose to consider the significance of a few Inn Signs that are, or were once, peculiar to London. Commencing with the celebrated Tabard, in Southwark, so dear to the memory of Chaucer and his Canterbury Pilgrims, that sign was derived from the rich tunic or mantle of the same name worn by military nobles over their armour and emblazoned with heraldic devices. The Tabard still forms part of the costume of the heralds. La Belle Sauvage, on Ludgate Hill, was, as is evident from a legal document dated the thirty-first year of the reign of Henry VI., known both as “Savage’s Inn” and “The Bell and the Hoop.” The latter was the actual sign, representing a bell within a hoop, of the Inn which was kept by Isabelle Savage; and the combination of these two names resulted in the punning title of “La Belle Sauvage.” The Swan with Two Necks, in Lad Lane, was a corruption of “The Swan with Two Nicks.” As most Londoners are aware, it has long been the custom of the Vintners’ Company, in their annual “swan-upping” expeditions on the Thames, to mark their swans with a couple of nicks or notches in the bill, so as to distinguish them from the royal swans, whose nicks are five in number, viz., two lengthways and three across on the bill. That this characteristic mark of the Vintners’ Company should have been chosen for a London Inn Sign is scarcely extraordinary.

The sign of The Elephant and Castle, on the south side of the river, was adopted from the crest of the Cutlers’ Company, into whose trade ivory, and consequently elephants’ tusks, enters very considerably. With regard to the “Castle,” this was in mediæval times inseparable from the idea of an elephant, owing to the part which these huge animals anciently took in the Punic wars. Another “Elephant and Castle” exists in the parish of St. Pancras, near King’s Cross; but this sign originated from the discovery, in 1714, of the skeleton of an elephant in the neighbourhood of Battle Bridge. A flint-headed spear lay beside the remains, and from this it is reasonable to conjecture that the animal must have been killed by the Britons who were led by Queen Boadicea against the Romans in the year 61 a.d.

The Horse Shoe, Tottenham Court Road, came into existence as a sign from the large horse-shoes nailed up at the entrance of Messrs. Meux’s brewery adjoining. The shoes are also conspicuous on the trappings of the dray-horses belonging to that establishment; in short, they comprise the trade-mark of the firm. The Blue Posts, at the corner of Hanway Street, nearly opposite the “Horse Shoe,” arose out of the fancy of an old innkeeper to distinguish his hostelry from all others by causing the chain-posts abutting on the road to be painted blue instead of white, which eccentricity fully served the purpose of a sign. There is another “Blue Posts” in Cork Street, Piccadilly, and yet another in Southampton Buildings, Holborn; but the first-named is the oldest of the three, and therefore the original. The Black Posts, Bond Street, may also be regarded as a modified imitation of the example set by the original “Blue Posts.” The Three Chairmen, at the foot of Hay Hill, Berkeley Square, and The Running Footman, in Hayes’ Mews, close by, were so denominated from being the resort of gentlemen’s servants in the days when Sedan Chairs (these chairs were first made at Sedan, in France, which accounts for their name, exactly as Bath Chairs were originally introduced at Bath during the last century, when fashionable invalids flocked to the West of England to drink the Bath and Cheltenham waters) and Running Footmen preceded the use of private carriages by the wealthy.

The Mother Red Cap, Camden Town, perpetuates the memory of a notorious poisoner known as “Mother Damnable, the Consort of the Devil,” who lived at Hungerford Stairs during the period of the Commonwealth. The Mother Shipton, Haverstock Hill, was built at the time when the prophecies of Mrs. Evan Preece, of Glamorganshire, South Wales, were in everybody’s mouth. This old woman was said to have had a son by the devil, whereupon, in return for the sacrifice of her honour, she was accorded the gift of prophecy. When we state that she correctly predicted the deaths of Lord Percy, Wolsey, and other historical personages, the existence of Mother Shipton in this country must be regarded as a time-honoured if not exactly as a well-founded institution. The Adelaide, Haverstock Hill, was named in honour of the consort of William IV., and The York and Albany after the title of Frederick, the second son of George III.

Jack Straw’s Castle, Highbury, as also the celebrated hostelry of the same name on Hampstead Heath, was so called after Jack Straw, one of the leaders in Wat Tyler’s insurrection, who pulled down the Priory of the Knights of St. John of Jerusalem at the former place, and whose habitation was a hole formed out of the hill-side on the site of the present Inn at the latter place. The Spaniards, Highgate, was originally the private residence of the Spanish Ambassador to James I. The Whittington Stone, Highgate Hill, took its sign from the stone upon which the world-famous Dick Whittington sat down to rest the while he listened to the bells of Bow Church pleasantly chiming across the open fields. The stone is still to be seen on the edge of the pavement exactly opposite the public-house.

The sign of The Thirteen Cantons, King Street, Golden Square, was adopted in compliment to the thirteen Protestant cantons of Switzerland, and to the numerous natives of that country who at one time took up their residence in the parish of Soho. During the last decade or two the Swiss population has given way in a large degree to French immigrants. The North Pole, Wardour Street, dates back to the time when our national interest in Arctic discovery was at its height; exactly in the same manner as The South Australian, Hans Place, Chelsea, was established in the year that first witnessed the colonization of Southern Australia.

The World’s End, in the King’s Road, Chelsea, a favourite house of entertainment during the Restoration period, received its name on account of its distance from town. The Fulham Bridge, at Knightsbridge, recalls the original name of the structure which crossed the Westbourne in this neighbourhood (see Knightsbridge). The Devil, Fleet Street, received its name from its situation, nearly opposite the Church of St. Dunstan, and the traditional account of that saint having seized the Evil One by the nose with a pair of hot pincers. The Three Nuns, Aldgate, well serves the purpose of reminding us of the existence of an ancient priory inhabited by the nuns of St. Clare in this neighbourhood (see Minories). The White Conduit Tavern, Islington, occupies the site of the famous old White Conduit House, a popular place of resort previous to its demolition in 1849. This was the Conduit which had served the Carthusian Friars with water from ancient times. The prenomen “white” applied to the house and was derived from the appearance of its exterior. The Belvedere, Pentonville Hill, originally contained a small structure on the roof known by this name for sitting under and enjoying the prospect across the fields. The term Belvidere is Italian, signifying “a fine prospect,” and is equally applicable to a summer arbour and the flat roof of a house. The Clown Tavern, St. John Street Road, Clerkenwell, owes its sign to the fact that it was formerly kept by a clown engaged at Sadler’s Wells Theatre, in its immediate vicinity. The well-known Hummuns’s Hotel, generally alluded to as Hummuns’s, Covent Garden, derived this title from its erection on the site of a Hummuns, the Arabic name for a sweating bath, kept by a Mr. Small some time during the seventeenth century.