READINGS IN ART.
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.