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).

FOOTNOTES

[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.