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With the latitude of transposition once allowed, this and the preceding lists of Sanscrit words, which I regard as derivations from the Hebrew, might evidently be much increased; but, as I have another object in view in this paper, that of drawing the attention of your readers to the affinities subsisting between the Sanscrit and Greek and Latin languages, to which Dr. Pritchard has added Celtic and Teutonic, I must for the present waive this part of the subject, restricting the remaining observations of this paper to the importance of the Sanscrit, as shedding new light on the Greek and Latin languages."

Take the following Sanscrit words: Pitre; this word is found not only in the Greek and

Latin

Golgotha גלגלת mighty אדר

Tarp pater, but with little variation in the northern languages, and even in the Persian pader.

Sanscrit, Matre; Greek and Latin μηrηp, mater; Persian mader.

Sanscrit, Duhitre; Greek Ovyatηp : this word also is used with little variation, not only by the Goths, Saxons, Almans, Cimbrians, Danes, Dutch, and English, but even by the Persians.

The following are but a very small portion of the catalogue of words which have been collected by me from the Sanscrit Dictionary, which appear to show beyond all doubt a connection betwixt the Sanscrit and the Greek. They are also a part of those included in Dr. Pritchard's work.

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a cloud,
water,
night,

Greek, νεφέλη,
Greek, ύδωρ,
Greek, vvg,

Celtic, fear.
Celtic, gean.
Celtic, ner.

Latin, nebula; Celtic, nivwl.
Latin, udus; Celtic, dwfr.
Latin, nox; Celtic, nos.

luded in preceding papers many of
the Greek words subsequently be-
came. It is to be presumed, that the
earliest dialects in that language ap-
proximated far more closely than is
shown in the subjoined examples to
their Sanscrit original.

Nisa, In the following list of verbal roots to be found in the Sanscrit, a still more striking illustration will be observed of the identity in many respects of the Greek and Sanscrit, however modified by the circumstances to which I have already alDa, a verbal root, whence the verb dadami, I give; Greek didwμ Latin do;

Celtic DAIGH.

Ad, a verbal root, whence the verb admi, atsi, atti,-edo, edis, edit; Greek edo; Latin edo.

* Strabo calls Apollo Smintheus, a Thracian term of unknown signification. It is probable, however, that it was from Smitha, the Sanscrit word for fire.

Bhu, to be; Greek piw, piμı, pivaι; Latin fuo, fui, fuimus; Pers. buden, to

be; Celtic bum, bu.

An, a verbal root, whence anyatai, respirat; animi, respiro; Greek ανεμος ; Latin animus; Celtic anaim-soul, spirit.

Tan, a verbal root; whence the verb tanoti, he extends; Greek Tewo; Latin tendo; Celtic taen, extensio.

Loch, a verbal root; Greek evoσa; Celtic lhyyad.

Locháyati lucet; Latin lux; Welsh lhwg, light.

Lih to lick; Greek λexw; Latin lingo; Celtic lhyaw, to lick.

Sth'a, a verbal root; whence the verb TISHTATI he stands, and tishtami I stand ; Greek ἵσταμι, οι ἵστημι ; Latin sto.

As, a verbal root; whence the verb substantive asmi, asi, asti, sum, est; Greek εἰμί οι. ἐσμὶ, ἐσσὶ, εστι.

Jan, whence gignit, yyvera, middle voice, jagana; Greek yeyova, yevos, KTA; Welsh geni.

Jna, a verbal root; whence janami, I know; Greek yvow, yɩyvwσkw; Latin, nosco; Germ. kenner; Welsh gwyn.

Vid, a verbal root, whence the verb vaida (oida) in a præterite form with a present signification; Greek etdew, ol. Feidw, or Veldew; Latin video; Celtic gwydh, knowledge; and all these originally from y to know. Uchali, high; uch, higher, Welsh ; vê apɩσtos, (vid. Homer.)

It has been shown too, that the theory of the Greek verbs in μ cannot well be understood without recourse to their parallels in the Sanscrit grammar. The Greek conjugations, with all their complicated machinery of middle voice, augments and reduplications, receive from this source a degree of illustration which a few years ago would have been regarded as chimerical. From a perusal of the above derivations, it will hardly, I conceive, admit of a doubt, that not only the Greek and Latin, but the Celtic, with its various dialects, is a branch of the great family which have been designated by the term Indo-European. By the aid of the Celtic we are enabled now to explain the origin of some of the conjugational endings in the other languages. The pronoun of the third person plural, in Welsh, is hwynt in the entire form, and ynt in the contracted. Now the 3rd person plural of the Latin, Persian, Greek, and Sanscrit, ends in nt, nd, ντι, ντο. How are we to account for this except on the ground of a common origin of all these languages? I will not conclude these observations without more earnestly recommending the study of the affinity of languages to the rising generation of classical students, and, among the number of the earliest languages yet extant, the study of the Coptic will be found to prove the position I am now advocating; for, however wide may appear

to some the difference between the Coptic and the character of the Asiatic and European languages, yet even the superficial search already made has shown that there are some words common both to the Coptic and Semitic; and this, after all, is what I have been mainly contending for. The general similitude existing between the Semitic and the early Coptic, Sanscrit, Celtic, and other ancient languages, forms in my view of this subject a more valuable source of evidence of the truth of the confusion of languages. But with all this marked difference (lexically as well as grammatically) in these languages from the parent of all languages, the Semitic, yet there are still to be discovered not-to-be-mistaken marks of a once close alliance. Of the Coptic, I will say no more on the present occasion than that the opinion of the profoundest scholars, who have examined it, has shown most satisfactorily, that it is essentially the same which was spoken before the time of Moses and Joseph. Coptic words are to be traced in the works of authors both Hebrew and Greek of every age; of these a considerable number have been recognised even in the book of Genesis, in which they appear, not as Hebrew, but foreign words, used in relation to the productions and local peculiarities of Egypt.

I must once more apologise to your readers for the introduction

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PAINTING IN NEWARK CHURCH, NOTTS.

of subjects of this nature into your pages, which, in the opinion of some, may seem to have other objects in view; yet, as I know of no other periodical that is perused by so large a portion of learned men in this and other countries as your time-honoured

Magazine, this and the real importance of the subject will, I trust, be received as a sufficient apology for having trespassed too freely on its pages.

Yours, &c. J. K. WALKER, M.D.

ANCIENT PAINTING IN NEWARK CHURCH.

MR. URBAN, Nottingham, May 25. I SEND you a drawing (engraved in the accompanying Plate) of an ancient painting in Newark church in this county, which forms the only remaining group of a Dance of Death, and from its quaintness and singularity will, I trust, be acceptable to your antiquarian readers. The painting is upon a stone screen in the choir, and in order to explain its situation more clearly I may be allowed to point out the arrangement of that part of the church, which still preserves its original order. The centre division, or sanctum sanctorum, is elevated above the level of the surrounding aisles and the Lady chapel, and is inclosed on every side: viz. on the west by the magnificent rood-loft, now converted into an organ gallery; on the east by a stone reredos, dividing it from the Lady Chapel; and on the north and south sides by elaborately carved stalls, and also towards the altar end by two stone screens or parcloses, forming the backs of the sedilia and Easter Sepulchre on their respective sides; and which are divided into numerous square panels by moulded mullions and transoms. The painting in question occupies the two lower panels towards the east of the southern or sedilia screen, and faces the aisle. The date of the screens, as well as the rood-loft, and stalls, I have no hesitation in referring to a period not earlier than the reign of Henry VIII.-about 1520, an opinion which is confirmed by the costume of the figure in the painting. The picture appears to be in oil, and its style much resembles that of painted glass, as the figures have the same hard decisive outline absolutely necessary for effect in glass painting, but which is unnatural on any other than a transparent ground. Though very rude in design there is yet a considerable degree of expression

in the symbolical meaning of the group; the action of the skeleton holding in one hand a flower and with the other pointing to the grave beneath, together with its ghastly grin, and the solemn measure of the ghostly dance, is very significant, while the earnest thoughtful countenance of the gaily dressed figure, whose hand mechanically rests on the contents of the purse at his girdle, coupled to the apparent unconscious action of his legs joining in the dance, suggest the idea of the rich man busied in the multifarious pleasures and employments of life, and giving little heed to the warnings of mortality. There is a sort of dreamy earnestness and mystery in the composition to be found nowhere but in Catholic art, and which is to a certain extent visible even in its rudest and least refined productions.

The Dance of Death, as must be well known to most of your readers, was a very favourite subject during the 14th and 15th centuries, and the earliest allusion, according to Warton, seems to be in Piers Plowman's Vision, written about 1350. Warton is of opinion that the pictorial repre-sentation was founded upon a kind of spiritual masquerade, anciently enacted by the ecclesiastics in the churches of France; but I am not aware that this ceremony, which seems to have been allied to that of the boy bishop and feast of asses, was ever actually performed in the English churches. The first painting of the subject on record was at Minden, in Westphalia, as early as 1384. The next was a celebrated one at the Holy Innocents in Paris, in the century succeeding, and from which Lydgate translated the verses accompanying, at the request of the Chapter of St. Paul's, London, who caused them to be inscribed under a Dance of Death, executed at the expense of one Jenkin Carpenter, on the

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