Pronouncing Vocabulary of Proper Names and Foreign Words
The Diacritical Marks given are those found in the latest edition of Webster’s International Dictionary.
EXPLANATION OF DIACRITICAL MARKS.
A Dash ( ā ) above the vowel denotes the long sound, as in fāte, ēve, tīme, nōte, ūse.
A Dash and a Dot ( ǡ ) above the vowel denote the same sound, less prolonged.
A Curve (ă) above the vowel denotes the short sound, as in ădd, ĕnd, ĭll, ŏdd, ŭp.
A Dot (ȧ) above the vowel a denotes the obscure sound of a in pȧst, ȧbāte, Amĕricȧ.
A Double Dot (ä) above the vowel a denotes the broad sound of a in fäther, älma.
A Double Dot (a̤) below the vowel a denotes the sound of a in ba̤ll.
A Wave (~) above the vowel e denotes the sound of e in hẽr.
A Circumflex Accent (^) above the vowel o denotes the sound of o in bôrn.
A dot (.) below the vowel u denotes the sound of u in the French language.
&$413; indicates that the preceding vowel has the French nasal tone.
th denotes the sound of th in the, this.
ç sounds like s.
c sounds like k.
g sounds like z.
ḡ is hard as in get.
ġ is soft as in gem.
Æëtes (ėē’tėz).
Andalusia (ăn-dȧ-lōō’zĭ-ȧ or än-dä-lōō-thē’ä).
Anthony (ăn’tŏ-nĭ).
Argo (är’ḡō).
Armada (är-mä’dä or är-mā’dȧ).
Augsburg (owgs’bōōrG).
Baffo (bäf’fō).
Bäldässä’rĕ.
Bĕl’lä.
Belvedere (bĕl-vĕ-dā’rĕ or -dēr’).
Benedetto (bā-nā-dĕt’tō).
Bĕth’lēhēm.
Biri (bē’rē).
Borgia (bôr’jä).
Brussels (brŭs’ĕlz).
Cæsar (sē’zȧr).
Calvary (kăl’vȧ-rĭ).
Canaan (kā’nȧn or kā’nǡ-ȧn).
Carlton (kärl’tŭn).
Casa Grande (kä’sä grän’dǡ).
Castiglione (käs-tēl-yō’nǡ).
Caxton (kăks’tŭn).
Ceneda (chā-nā’dä).
Christopher (krĭs’tō-fẽr).
Cleodolinda (klǡ-ō-dō-lĭn’dä).
Clŏs’sŏn.
Colchis (kŏl’kĭs).
Cornelio (kōr-nā’lė-ō).
Cristoforo (krės-tō’fō-rō).
Cū’pĭd.
Diocletian (dī-ō-klē’shĭ-ȧn).
Ecce Homo (ĕk’kĕ, or ĕk’sē, hō’mō).
Eleanora (ǡ-lǡ-ō-nō’rä).
Elizabeth (ė-lĭz’ȧ-bĕth).
Emmanuel (ĕm-măn’ ȯ̇-ĕl).
Fēr’dĭnănd.
Flĕm’ĭng.
Flôrĕnce.
Francesco (frän-chĕs’kō).
Franciscan (frăn-sĭs’kăn).
Frari (frä’rē).
Gābrĭĕl.
Gā’rĕth.
Giorgione (jôr-jō’nǡ).
Gŏnzä’gä.
Grănä’dȧ.
guimpe (ḡă&$413;p).
Guinevere (gwĭn’ĕ-vēr).
Hebrew (hē’brōō).
Hecate (hĕk’ǡ-tė).
Herod (hĕr’ŭd).
Herodians (hĕr-ō’dĭ-ȧnz).
Isabella (ĭz-ȧ-bĕl’ȧ).
Isaiah (i-zā’yȧ).
Israel (ĭz’rǡ-ĕl).
Jacopo (yä’kō-pō).
Jameson (jā’mĕ-sŭn).
Jason (jā’sŭn).
Jerome (jė-rōm’ or jĕr’ŭm).
Jĕrūsȧlĕm.
Joachim (jō’ä-kĭm).
Jôrdȧn.
Judē’ȧ.
Jū’nō.
Kingsley (kĭngz’lĭ).
Lävĭn’ĭȧ.
Legenda Aurea (lĕḡ-ĕn’dä ow’rĕ-ä or lē-jĕn’dȧ a̤’rė-ȧ).
Leon, Ponce de (pōn’thā dā lā-ōn’).
Leonardo (lā-ō-när’dō).
Levites (lē’vītz).
Lŏt’tō.
Lynette (Lĭ-nĕt’).
Mȧdŏn’nȧ.
Măgnĭ’fĭcăt.
mandola (män-dō’lä).
Măn’tȯ̇ȧ.
Maximilian (măk-sĭ-mīl’ī-ȧn).
Mēdē’ȧ.
Mĕn’dĕlssōhn.
Mĕssī’ȧh.
Mĕtȧmôrphōsēs.
Milan (mĭl’ȧn or mĭ-lăn’).
Mī’lō.
Murano (mōō-rä’nō).
Murillo (mōō-rēl’yō).
Naz’areth.
Netherlands (nĕth’ẽr-lȧndz).
Offero (ŏf’fė-rō).
Ovid (ŏv’ĭd).
Păd’ȯ̇ȧ.
Pălĕstīne.
Pallavicino, Argentina (är-ġĕn-tē’nä päl-lä-vē-chē’nō).
Päl’mä.
Pā’phŏs.
Pär’mä.
Pesari (pā-sä’rē).
Pesaro, Jacopo (yä’kō-pō pā-sä’rō).
Pharisee (făr’ĭ-sē).
Pieta (pė-ā’tä).
Portugal (pōr’tȯ̇-gȧl).
Portuguese (pōr’tȯ̇-gēz).
Priscianese (prĭs-chē-ä-nā’sǡ).
Reggio (rĕd’jō).
Rovere, Francesco Maria della (frän-chĕs’kō mä-rē’ä dĕl’lä rō-vā’rā).
Rŭs’kĭn.
Sadducees (săd’ȯ̇-sēz).
Salome (să-lō’mė).
Sarcinelli, Cornelio (kōr-nā’lė-ō sär-chė-nĕl’lė).
Serravalle (sĕr-rä-väl’lǡ).
Seville (sė-vĭl’).
Titian (tĭsh’ȧn).
Uffizi (ōōf-fēt’sė).
Urbino (ōōr-bē’nō).
Van Dyck (văn dīk’).
Vasari (vä-sä’rē).
Velasquez (vā-läs’kāth).
Venetian (vė-nē’shȧn).
Venice (vĕn’ĭs).
Vē’nŭs.
Veronese (vā-rō-nā’zǡ).
Vĕsā’lĭŭs.
Viĕn’nȧ.
Vinci, Leonardo da (lā-ō-när’dō da vĭn’chē).
Voragine, Jacopo de (yä’kō-pō dȧ vō-rä-jē’nǡ).
Vŭl’gāte.
Wesley (wĕs’lĭ).
Yuste (yōōs’tā).
Zacharias (zăk-ȧ-rī’ȧs).
Notes
1 See notes on Titian in Vasari’s Lives of the Painters, edited by E. H. and E. W. Blashfield and A. A. Hopkins.
2 Notes on Titian in Vasari’s Lives of the Painters, by E. H. and E. W. Blashfield and A. A. Hopkins.
3 Claude Phillips.
4 Compiled from the Index to Titian: His Life and Times, by Crowe and Cavalcaselle.
5 As the various so-called portraits of Vesalius are said to have little in common upon which to base a resemblance, one is almost tempted to set up a theory that this portrait may be that of the great anatomist.
6 1 Samuel, chapter i., verses 11, 24-28.
7 The Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics, vol. v., pp. 101, 102). The story is retold in Mrs. Jameson’s Legends of the Madonna, p. 197.
8 For instance, Lavinia, Flora, and the Man with the Glove.
9 See the Acts of the Apostles, chapters vi. and vii.
10 The lives of St. Jerome and St. George are related in detail in The Golden Legend. See Caxton’s translation edited by F. S. Ellis (Temple Classics), vol. v., pages 199-208, for St. Jerome, vol. iii., pages 125-134, for St. George. Mrs. Jameson’s Sacred and Legendary Art contains condensed accounts of the same two saints. See page 280 for St. Jerome and page 391 for St. George.
11 See the story as related in Mrs. Jameson’s Sacred and Legendary Art, page 433, and in H. E. Scudder’s Book of Legends.
12 Claude Phillips.
13 Matthew, chapter xxii., verses 34-40.
14 Others are the Venus of the Uffizi Gallery, Florence, and the Girl in the Fur Cloak in the Belvedere, Vienna.
15 See page 15.
16 In the later Venetian art, as in the pictures by Veronese, we see more elaborate costumes.
17 See Book VII. in Henry King’s translation, from which the quotations here are drawn. The same story is delightfully modernized in Hawthorne’s Tanglewood Tales and Kingsley’s Greek Heroes.
18 See the volume on Greek Sculpture in the Riverside Art Series, chap. xiii.
19 In our reproduction a small portion of the landscape is cut off at each end.
20 From Gareth and Lynette.
21 From Guinevere.
22 This analysis of Mary’s character is suggested in the Introduction to Mrs. Jameson’s Legends of the Madonna, p. 28.
23 See the volume on Murillo in the Riverside Art Series, Chapter I.
24 See The Golden Legend, in Caxton’s translation, edited by F. S. Ellis (Temple Classics), vol. iv., pages 238, 239, 245.
25 Mrs. Jameson in Sacred and Legendary Art, page 74.
26 See page 57.
27 This feature of the picture is pointed out by John Van Dyke in his notes on Closson’s engraving of the subject.
28 It should be remembered that a portion of Elizabeth’s reign (1538-1603) fell within Titian’s lifetime.
29 See Elements of Drawing, Lecture III.
30 Luke, chapter iii., verse 6.
31 Luke, chapter iii., verses 21, 22.
32 John, chapter i., verses 29-30.