P. 384, c. 2.—“Cimabue,” che-mä-booˈā. (1240?-1302?) Called “the father
of modern painting.”
P. 385, c. 1.—“Navicella,” năv-i-celˈla. The name of the mosaic, meaning
the little ship.
“Assisi,” as-seeˈsee. A picturesque town of central Italy, chiefly noted
as the birthplace of St. Francis, who founded the Franciscan order of
monks.
“Podestà,” po-des-tāˈ. In 1207 the chief executive power of Florence was
put into the hands of a single officer called the _podesta_; hence the
reference is to the chief magistrate’s palace.
“Chiaro-scuro,” chi-äˌro-ŏs-cuˈro. The effective distribution of lights
and shades in a picture.
“Guido di Pietro,” gweeˈdo de pe-aˈtrō.
“Fiesole,” fyesˈo-lā. A town of Italy, near Florence.
“Vicchio,” vekˈkee-o; “Mugello,” mu-gelˈlō.
P. 385, c. 2.—“Orvieto,” or-ve-āˈto. A town of central Italy, not far
from Perugia.
“Luca Signorelli,” luˈca sēn-yo-relˈlee. (1439-1521.) An Italian painter,
a nephew of Vasari. His frescoes are his most noteworthy pieces.
“Scudi,” skōoˈdee. The plural of scudo, an Italian coin used in Italy and
Sicily, and worth about 96 cents.
“Santa Maria delle Grazie,” sänˈtä mä-reeˈä delˈlā grätˈse-ā.
“Marco d’Oggione,” marˈco dōd-goˈnā. (1470-1530.) A pupil of Leonardo. He
made two copies of “The Last Supper”—his most important works.
P. 386, c. 1.—“Cloux,” clou; “Amboise,” almost ŏnbˈwīzˌ. A town on the
Loire, in western central France.
“Vasari,” vä-säˈree. (1512-1574.) A pupil of Michaelangelo, and a
successful painter. His fame rests on his “Lives of the most excellent
Painters, Architects and Sculptors,” one of the most valuable books ever
written on the subject.
“Trattato,” etc. Treatise on painting.
“Castel Caprese.” käs-telˈ kä-presˈā; “Arezzo,” ä-retˈso.
“Ghirlandaio,” gĕr-län-däˈyo. (1451-1495.) A painter famous for his
invention. His chief works, “The Massacre of the Infants” and “The Death
of St. Francis” are still preserved in the Sistine chapel.
“Fuseli,” fūˈseh-le. (1742-1825.) A celebrated historical painter.
“Monochrome,” mŏnˈo-chrōme. A painting with a single color.
P. 386, c. 2.—“Sandro Botticelli,” bot-te-chelˈlee. (1440-1515.) An
eminent Italian painter. His frescoes in the chapel of the Vatican are
his most powerful works.
“Cosimo Rosselli,” ro-selˈlee. (1439-1506.)
“Perugino,” pā-roo-jeeˈnō. (1446-1524.) The master of Raphael. He
received his name, “The Perugian,” from the work which he did at Perugia,
where there still exist some of his best frescoes.
“Raffaello Sanzio,” rä-fä-ĕˈlō sänˈze-o; “Pinturicchio,”
pēn-too-rēkˈke-o. (1454-1513.)
P. 387, c. 1.—“Francia,” fränˈchä. (1450-1533?) A celebrated Italian
painter.
“Fra Bartholommeo,” barˈto-lo-māˌō.
* * * * *
For help in pronouncing the Italian names which are so numerous in this
paper, we give a set of simple rules for Italian vowels and consonants.
_A_ like _a_ in father.
_E_ like _e_ in met, more prolonged and open at the close of a syllable.
_I_ like _ee_ in feet.
_O._ Pronounce _roll_ and stop on the middle of the word, and it is
precisely the Italian _o_.
_U_ like _oo_ in root.
_C_ or _g_ followed by _a_, _o_ or _u_, as in English, but followed by
_e_ or _i_, _c_ has the sound of _ch_ as in cherry, and _g_ is like _g_
in gem.
_Gn_ is like _ni_ in poniard.
_Gl_ as in English, except before _i_, when it has the sound of _ll_ in
brilliant.
_S_ at the beginning of a word has the hissing sound, as between two
vowels, or followed by _b_, _d_, _r_ or _v_, is pronounced like _z_.
_Sc_, followed by _e_ or _i_, like _sh_.
_Z_ like _dz_ in words which have _z_ in the English word; like _tz_ when
preceded by _l_ or _r_, or followed by two vowels, and in nouns ending in
_zzo_.
Single consonants are generally soft; double consonants are pronounced in
one sound, but stronger and more marked than when single.