1925 With a drink so good, 'tis folly to be thirsty 1929 The high sign of refreshment 1929 The pause that refreshes 1930 It had to be good to get where it is 1932 The drink that makes a pause refreshing 1935 The pause that brings friends together 1937 STOP for a pause... GO refreshed 1938 The best friend thirst ever had 1939 Thirst stops here 1942 It's the real thing 1947 Have a Coke 1961 Zing! what a REFRESHING NEW FEELING 1963 Things go better with Coke 1969 Face Uncle Sam with a Coke in your hand 1979 Have a Coke and a smile 1982 Coke is it! -- Coca-Cola slogans
CARDAMOM, the fruit of several plants of the genera _Elettaria_ and _Amomum_, belonging to the natural order Zingiberaceae, the principal of which is _Elettaria Cardamomum_, from which the true officinal or Malabar cardamom is derived. The Malabar cardamom plant is a large perennial herb with a thick fleshy root-stock, which sends up flowering stems, 6 to 12 ft. high. The large leaves are arranged in two rows, have very long sheaths enveloping the stem and a lanceolate spreading blade 1 to 2½ ft. long. The fruit is an ovate-triangular, three-celled, three-valved capsule (about 1/5 in. long, of a dirty yellow colour) enclosing numerous angular seeds, which form the valuable part of the plant. It is a native of the mountainous parts of the Malabar coast of India, and the fruits are procured either from wild plants or by cultivation throughout Travancore, western Mysore, and along the western Ghauts. A cardamom of much larger size found growing in Ceylon was formerly regarded as belonging to a distinct species, and described as such under the name of _Elettaria major_; but it is now known to be only a variety of the Malabar cardamom. In commerce, several varieties are distinguished according to their size and flavour. The most esteemed are known as "shorts," a name given to such capsules as are from a quarter to half an inch long and about a quarter broad. Following these come "short-longs" and "long-longs," also distinguished by their size, the largest reaching to about an inch in length. The Ceylon cardamom attains a length of an inch and a half and is about a third of an inch broad, with a brownish pericarp and a distinct aromatic odour. Among the other plants, the fruits of which pass in commerce as cardamoms, are the round or cluster cardamom, _Amomum Cardamomum_, a native of Siam and Java; the bastard cardamom of Siam, _A. xanthioides_ --the Bengal cardamom, which is the fruit of _A. subulatum_, a native of Nepal; the Java cardamom, produced by _A. maximum_; and the Korarima cardamom of Somaliland. The last-named is the product of a plant which is unknown botanically. Cardamoms generally are possessed of a pleasant aromatic odour, and an agreeable, spicy taste. On account of their flavour they are much used with other medicines, and they form a principal ingredient in curries and compounded spices. In the north of Europe they are much used as a spice and flavouring material for cakes and liqueurs; and they are very extensively employed in the East for chewing with betel, &c. Entry: CARDAMOM
Miklosich has collected seven passages where the Byzantine historians of the 9th century describe the Athinganoi as soothsayers, magicians and serpent-charmers. From these descriptions nothing definite can be proved as to the identity of the Athinganoi with the Gipsies, or the reason why this name was given to soothsayers, charmers, &c. But the inner history of the Byzantine empire of that period may easily give a clue to it and explain how it came about that such a nickname was given to a new sect or to a new race which suddenly appeared in the Greek Empire at that period. In the history of the Church we find them mentioned in one breath with the Paulicians and other heretical sects which were transplanted in their tens of thousands from Asia Minor to the Greek empire and settled especially in Rumelia, near Adrianople and Philippopolis. The Greeks called these heretical sects by all kinds of names, derived from ancient Church traditions, and gave to each sect such names as first struck them, on the scantiest of imaginary similarities. One sect was called Paulician, another Melki-Zedekite; so also these were called Athinganoi, probably being considered the descendants of the outcast Samer, who, according to ancient tradition, was a goldsmith and the maker of the Golden Calf in the desert. For this sin Samer was banished and compelled to live apart from human beings and even to avoid their touch (Athinganos: "Touch-me-not"). Travelling from East to West these heretical sects obtained different names in different countries, in accordance with the local traditions or to imaginary origins. The Bogomils and Patarenes became Bulgarians in France, and so the gypsies Bohémiens, a name which was also connected with the heretical sect of the Bohemian brothers (_Böhmische Brüder_). Curiously enough the Kutzo-Vlachs living in Macedonia (q.v.) and Rumelia are also known by the nickname Tsintsari, a word that has not yet been explained. Very likely it stands in close connexion with Zingari, the name having been transferred from one people to the other without the justification of any common ethnical origin, except that the Kutzo-Vlachs, like the Zingari, differed from their Greek neighbours in race, as in language, habits and customs; while they probably followed similar pursuits to those of the Zingari, as smiths, &c. As to the other name, Egyptians, this is derived from a peculiar tale which the gipsies spread when appearing in the west of Europe. They alleged that they had come from a country of their own called Little Egypt, either a confusion between Little Armenia and Egypt or the Peloponnesus. Entry: GIPSIES
With such conflicting evidence it is impossible to arrive at a certain result. But Jacob is an early witness: and on the whole it seems safe to conclude with Bedjan (p. ix) that works by at least two authors have been included in the collection attributed to Isaac of Antioch. Still the majority of the poems are the work of one hand--the 5th-century monophysite who wrote the poem on the parrot.[5] A full list[6] of the 191 poems existing in European MSS. is given by Bickell, who copied out 181 with a view to publishing them all: the other 10 had been previously copied by Zingerle. But the two volumes published by Bickell in his lifetime (Giessen, 1873 and 1877) contain only 37 homilies. Bedjan's edition, of which the first volume has alone appeared (Paris, 1903) contains 67 poems, viz. 24 previously published (18 by Bickell), and 43 that are new, though their titles are all included in Bickell's list. Entry: ISAAC
EDITIONS.--Erasmus (Basel, 1523, 1526, 1528); P. Coustant (Benedictine, Paris, 1693); Migne (_Patrol. Lat._ ix., x.). The _Tractatus de mysteriis_, ed. J. F. Gamurrini (Rome, 1887), and the _Tractatus super Psalmos_, ed. A. Zingerle in the Vienna _Corpus scrip. eccl. Lat._ xxii. Translation by E. W. Watson in _Nicene and Post-Nicene Fathers_, ix. Entry: EDITIONS
In addition to monographs by A. Zingerle (Trent, 1867) and A. Breysig (Erfurt, 1892), there are treatises on the German campaigns by E. von Wietersheim (1850), P. Höfer (1884), F. Knoke (1887, 1889), W. Fricke (1889), A. Taramelli (1891), Dahm (1902). Entry: GERMANICUS
Other leading works by Correggio are the following:--The frescoes in the Camera di San Paolo (the abbess's saloon) in the monastery of S. Lodovico at Parma, painted towards 1519 in fresco,--"Diana returning from the Chase," with auxiliary groups of lovely and vivacious boys of more than life size, in sixteen oval compartments. In the National Gallery, London, the "Ecce Homo," painted probably towards 1520 (authenticity not unquestioned); and "Cupid, Mercury and Venus," the latter more especially a fine example. The oil-painting of the Nativity named "Night" ("La Notte"), for which 40 ducats and 208 livres of old Reggio coin were paid, the nocturnal scene partially lit up by the splendour proceeding from the divine Infant. This work was undertaken at Reggio in 1522 for Alberto Pratoneris, and is now in the Dresden gallery. The oil-painting of St Jerome, termed also "Day" ("Il Giorno"), as contrasting with the above-named "Night." Jerome is here with the Madonna and Child, the Magdalene, and two Angels, of whom one points out to the Infant a passage in the book held by the Saint. This was painted for Briseida Bergonzi from 1527 onwards, and was remunerated by 400 gold imperials, some cartloads of faggots and measures of wheat, and a fat pig. It is now in the gallery at Parma. The "Magdalene lying at the entrance of her Cavern": this small picture (only 18 in. wide) was bought by Augustus III. of Saxony for 6000 louis d'or, and is in Dresden. In the same gallery, the two works designated "St George" (painted towards 1532) and "St Sebastian." In the Parma gallery, the Madonna named "della Scala," a fresco which was originally in a recess of the Porta Romana, Parma; also the Madonna "della Scodella" (of the bowl, which is held by the Virgin--the subject being the Repose in Egypt): it was executed for the church of San Sepolcro. Both these works date towards 1526. In the church of the Annunciation, "Parma," a fresco of the Annunciation, now all but perished. Five celebrated pictures painted or begun in 1532,--"Venus," "Leda," "Danaë," "Vice," and "Virtue": the "Leda," with figures of charming girls bathing, is now in the Berlin gallery, and is a singularly delightful specimen of the master. In Vienna, "Jupiter and Io." In the Louvre, "Jupiter and Antiope," and the "Mystic Marriage of St Catharine." In the Naples Museum, the "Madonna Reposing," commonly named "La Zingarella," or the "Madonna del Coniglio" (Gipsy-girl, or Madonna of the Rabbit). On some of his pictures Correggio signed "Lieto," as a synonym of "Allegri." About forty works can be confidently assigned to him, apart from a multitude of others probably or manifestly spurious. Entry: CORREGGIO
The endosperm formed in the embryo-sac of angiosperms after fertilization, and found previous to it in gymnosperms, consists of cells containing nitrogenous and starchy or fatty matter, destined for the nutriment of the embryo. It occupies the whole cavity of the embryo-sac, or is formed only at certain portions of it, at the apex, as in _Rhinanthus_, at the base, as in _Vaccinium_, or in the middle, as in _Veronica_. As the endosperm increases in size along with the embryo-sac and the embryo, the substance of the original nucellus of the ovule is gradually absorbed. Sometimes, however, as in Musaceae, Cannaceae, Zingiberaceae, no endosperm is formed; the cells of the original nucellus, becoming filled with food-materials for the embryo, are not absorbed, but remain surrounding the embryo-sac with the embryo, and constitute the _perisperm_. Again, in other plants, as Nymphaeaceae (fig. 38) and Piperaceae, both endosperm and perisperm are present. It was from observations on cases such as these that old authors, imagining a resemblance betwixt the plant-ovule and the animal ovum, applied the name _albumen_ to the outer nutrient mass or perisperm, and designated the endosperm as _vitellus_. The term albumen is very generally used as including all the nutrient matter stored up in the seed, but it would be advisable to discard the name as implying a definite chemical substance. There is a large class of plants in which although at first after fertilization a mass of endosperm is formed, yet, as the embryo increases in size, the nutrient matter from the endospermic cells passes out from them, and is absorbed by the cells of the embryo plant. In the mature seed, in such cases, there is no separate mass of tissue containing nutrient food-material apart from the embryo itself. Such a seed is said to be _exalbuminous_, as in Compositae, Cruciferae and most Leguminosae (e.g. pea, fig. 35). When either endosperm or perisperm or both are present the seed is said to be _albuminous_. Entry: FIG
In 1520 Correggio married Girolama Merlino, a young lady of Mantua, who brought him a good dowry. She was but sixteen years of age, very lovely, and is said by tradition to have been the model of his Zingarella. They lived in great harmony together, and had a family of four children. She died in 1529. Correggio himself expired at his native place on the 5th of March 1534. His illness was a short one, and has by some authors been termed pleurisy. Others, following Vasari, allege that it was brought on by his having had to carry home a sum of money, 50 scudi, which had been paid to him for one of his pictures, and paid in copper coin to humiliate and annoy him; he carried the money himself, to save expense, from Parma to Correggio on a hot day, and his fatigue and exhaustion led to the mortal illness. In this curious tale there is no symptom of authenticity, unless its very singularity, and the unlikelihood of its being invented without any foundation at all, may be allowed to count for something. He is said to have died with Christian piety; and his eulogists (speaking apparently from intuition rather than record) affirm that he was a good citizen, an affectionate son and father, fond and observant of children, a sincere and obliging friend, pacific, beneficent, grateful, unassuming, without meanness, free from envy and tolerant of criticism. He was buried with some pomp in the Arrivabene chapel, in the cloister of the Franciscan church at Correggio. Entry: CORREGGIO
BELLINI, VINCENZO (1801-1835), operatic composer of the Italian school, was born at Catania in Sicily, on the 1st of November 1801. He was descended from a family of musicians, both his father and grandfather having been composers of some reputation. After having received his preparatory musical education at home, he entered the conservatoire of Naples, where he studied singing and composition under Tritto and Zingarelli. He soon began to write pieces for various instruments, as well as a cantata and several masses and other sacred compositions. His first opera, _Adelson e Savina_, was performed in 1825 at a small theatre in Naples; his second dramatic work, _Bianca e Fernando_, was produced next year at the San Carlo theatre of the same city, and made his name known in Italy. His next work, _Il Pirata_ (1827), was written for the Scala in Milan, to words by Felice Romano, with whom Bellini formed a union of friendship to be severed only by his death. The splendid rendering of the music by Tamburini, Rubini and other great Italian singers contributed greatly to the success of the work, which at once established the European reputation of its composer. In almost every year of the short remainder of his life he produced a new operatic work, which was received with rapture by the audiences of France, Italy, Germany and England. The names and dates of four of Bellini's operas familiar to most lovers of Italian music are: _I Montecchi e Capuleti_ (1830), in which the part of Romeo became a favourite with all the great contraltos; _La Sonnambula_ (1831); _Norma_, Bellini's best and most popular creation (1831); and _I Puritani_ (1835), written for the Italian opera in Paris, and to some extent under the influence of French music. In 1833 Bellini had left his country to accompany to England the singer Pasta, who had created the part of his _Sonnambula_. In 1834 he accepted an invitation to write an opera for the national grand opera in Paris. While he was carefully studying the French language and the cadence of French verse for the purpose, he was seized with a sudden illness and died at his villa in Puteaux near Paris on the 24th of September 1835. His operatic creations are throughout replete with a spirit of gentle melancholy, frequently monotonous and almost always undramatic, but at the same time irresistibly sweet. To this spirit, combined with a rich flow of _cantilena_, Bellini's operas owe their popularity. "I shall never forget," wrote Wagner, "the impression made upon me by an opera of Bellini at a period when I was completely exhausted with the everlastingly abstract complication used in our orchestras, when a simple and noble melody was revealed anew to me." Entry: BELLINI
Syriac.--Joshua ben Ali, a physician, who lived about 885, made a Syro-Arabic lexicon, of which there is a MS. in the Vatican. Hoffmann printed this lexicon from Alif to Mim, from a Gotha MS., Kiel, 1874, 4to. Joshua bar Bahlul, living 963, wrote another, great part of which Castelli put into his lexicon. His MS. is now at Cambridge, and, with those at Florence and Oxford, was used by Bernstein. Elias bar Shinaya, born 975, metropolitan of Nisibis, 1009, wrote a Syriac and Arabic lexicon, entitled _Kit[=a]b [=u]t Tarjuman fi Taalem Loghat es S[=u]ri[=a]n_ (Book called the Interpreter for teaching the Language of the Syrians), of which there is a MS. in the British Museum. It was translated into Latin by Thomas à Novaria, a Minorite friar, edited by Germanus, and published at Rome by Obicinus, 1636, 8vo. It is a classified vocabulary, divided in 30 chapters, each containing several sections. Crinesius, Wittebergae, 1612, 4to: Buxforf, Basileae, 1622, 4to: Ferrarius, Romae, 1622, 4to: Trost, Cothenis Anhaltor, 1643, 4to: Gutbir, Hamburgi, 1667, 8vo: Schaaf, Lugd. Bat, 1708, 4to: Zanolini, Patavii, 1742, 4to: Castellus, ed. Michaelis, Göttingen, 1788, 4to, 2 vols.: Bernstein, Berlin, 1857, &c. fol.: Smith (Robt. Paine), Dean of Canterbury, Oxonii, 1868, &c. fol.: fasc. 1-3 contain 538 pages: Zingerle, Romae, 1873, 8vo, 148 pages. Entry: ASIA
Of the many editions of Ephraim's works a full list is given by Nestle in _Realenk. f. protest. Theol. und Kirche_ (3rd ed.). For modern students the most important are: (1) the great folio edition in 6 volumes (3 of works in Greek and 3 in Syriac), in which the text is throughout accompanied by a Latin version (Rome, 1732-1746); on the unsatisfactory character of this edition (which includes many works that are not Ephraim's) and especially of the Latin version, see Burkitt, _Ephraim's Quotations_, pp. 4 sqq.; (2) _Carmina Nisibena_, edited with a Latin translation by G. Bickell (Leipzig, 1866); (3) _Hymni et sermones_, edited with a Latin translation by T.J. Lamy (4 vols., Malines, 1882-1902). Many selected homilies have been edited or translated by Overbeck, Zingerle and others (cf. Wright, _Short History_, pp. 35 sqq.); a selection of the _Hymns_ was translated by H. Burgess, _Select Metrical Hymns of Ephrem Syrus_ (1853). Of the two recensions of Ephraim's biography, one was edited in part by J.S. Assemani (B.O. i. 26 sqq.) and in full by S.E. Assemani in the Roman edition (iii. pp. xxiii.-lxiii.); the other by Lamy (ii. 5-90) and Bedjan (_Acta mart. et sanct._ iii. 621-665). The long poem on the history of Joseph, twice edited by Bedjan (Paris, 1887 and 1891) and by him attributed to Ephraim, is more probably the work of Balai. (N. M.) Entry: EPHRAEM
_Tous-les-mois_, or Tulema arrowroot, also from the West Indies, is obtained from several species of _Canna_, a genus allied to _Maranta_, and cultivated in the same manner. The granules of _tous-les-mois_ are readily distinguishable by their very large size (fig. 5). East Indian arrowroot is obtained from the root-stocks of several species of the genus _Curcuma_ (nat. ord. Zingiberaceae), chiefly _C. angustifolia_, a native of central India. Brazilian arrowroot is the starch of the cassava plant, a species of Manihot (fig. 6), which when agglutinated on hot plates forms the tapioca of commerce. The cassava is cultivated in the East Indian Archipelago as well as in South America. _Tocca_, or _Otaheite_ arrowroot, is the produce of _Tacca pinnatifida_, the pia plant of the South Sea Islands. Portland arrowroot was formerly prepared on the Isle of Portland from the tubers of the common cuckoo-pint, _Arum maculatum_. Various other species of arum yield valuable food-starches in hot countries. Under the name of British arrowroot the farina of potatoes is sometimes sold, and the French excel in the preparation of imitations of the more costly starches from this source. The chief use, however, of potato-farina as an edible starch is for adulterating other and more costly preparations. This falsification can readily be detected by microscopic examination, and the accompanying drawings exhibit the appearance under the microscope of the principal starches we have described. Although these starches agree in chemical composition, their value as articles of diet varies considerably, owing to different degrees of digestibility and pleasantness of taste. Arrowroot contains about 82% of starch, and about 1% of proteid and mineral matter. Farina, or British arrowroot, at about one-twelfth the price, is just as useful and pleasant a food. Entry: ARROWROOT
COSTA, SIR MICHAEL ANDREW AGNUS (1808-1884), British musical conductor and composer, the son of Cavalière Pasquale Costa, a Spaniard, was born at Naples on the 14th of February 1808. Here he became at an early age a scholar at the Royal College of Music. His cantata _L'Immagine_ was composed when he was fifteen. In 1826 he wrote his first opera _Il Delitto Punito_; in 1827 another opera _Il sospetto funesto_. To this period belong also his oratorio _La Passione_, a grand Mass for four voices, a _Dixit Dominus_, and three symphonies. The opera _Il Carcere d'Ildegonda_ was composed in 1828 for the Teatro Nuovo, and in 1829 Costa wrote his _Malvina_ for Barbaja, the impresario of San Carlo. In this latter year he visited Birmingham to conduct Zingarelli's _Cantata Sacra_, a setting of some verses from Isaiah ch. xii. Instead, however, of conducting, he sang the tenor part. In 1830 he settled in London, having a connexion with the King's theatre. His ballet _Kenilworth_ was written in 1831, the ballet _Une Heure à Naples_ in 1832, and the ballet _Sir Huon_ (composed for Taglioni) in 1833. In this latter year he wrote his famous quartet _Ecco quel fiero istante. Malek Adhel_, an opera, was produced in Paris in 1837. In 1842 he wrote the ballet music of _Alma_ for Cerito, and in 1844 his opera _Don Carlos_ was produced in London. Costa became a naturalized Englishman and received the honour of knighthood in 1869. He conducted the opera at Her Majesty's from 1832 till 1846, when he seceded to the Italian Opera at Covent Garden; he was conductor of the Philharmonic Society from 1846 to 1854, of the Sacred Harmonic Society from 1848, and of the Birmingham festival from 1849. In 1855 Costa wrote _Eli_, and in 1864 _Naaman_, both for Birmingham. Meanwhile he had conducted the Bradford (1853) and Handel festivals (1857-1880), and the Leeds festivals from 1874 to 1880. On the 29th of April 1884 he died at Brighton. Costa was the great conductor of his day, but both his musical and his human sympathies were somewhat limited; his compositions have passed into oblivion, with the exception of the least admirable of them--his arrangement of the national anthem. Entry: COSTA
GINGER (Fr. _gingembre_, Ger. _Ingwer_), the rhizome or underground stem of _Zingiber officinale_ (nat. ord. Zingiberaceae), a perennial reed-like plant growing from 3 to 4 ft. high. The flowers and leaves are borne on separate stems, those of the former being shorter than those of the latter, and averaging from 6 to 12 in. The flowers themselves are borne at the apex of the stems in dense ovate-oblong cone-like spikes from 2 to 3 in. long, composed of obtuse strongly-imbricated bracts with membranous margins, each bract enclosing a single small sessile flower. The leaves are alternate and arranged in two rows, bright green, smooth, tapering at both ends, with very short stalks and long sheaths which stand away from the stem and end in two small rounded auricles. The plant rarely flowers and the fruit is unknown. Though not found in a wild state, it is considered with very good reason to be a native of the warmer parts of Asia, over which it has been cultivated from an early period and the rhizome imported into England. From Asia the plant has spread into the West Indies, South America, western tropical Africa, and Australia. It is commonly grown in botanic gardens in Britain. Entry: GINGER
_Literature._--K. L. Fernow in the third volume of his _Römische Studien_ (Zurich, 1806-1808) gave a good survey of the dialects of Italy. The dawn of rigorously scientific methods had not then appeared; but Fernow's view is wide and genial. Similar praise is due to Biondelli's work _Sui dialetti gallo-italici_ (Milan, 1853), which, however, is still ignorant of Diez. August Fuchs, between Fernow and Biondelli, had made himself so far acquainted with the new methods; but his exploration (_Über die sogenannten unregelmässigen Zeitwörter in den romanischen Sprachen, nebst Andeutungen über die wichtigsten romanischen Mundarten_, Berlin, 1840), though certainly of utility, was not very successful. Nor can the rapid survey of the Italian dialects given by Friedrich Diez be ranked among the happiest portions of his great masterpiece. Among the followers of Diez who distinguished themselves in this department the first outside of Italy were certainly Mussafia, a cautious and clear continuator of the master, and the singularly acute Hugo Schuchardt. Next came the _Archivio glottologico italiano_ (Turin, 1873 and onwards. Up to 1897 there were published 16 vols.), the lead in which was taken by Ascoli and G. Flechia (d. 1892), who, together with the Dalmatian Adolf Mussafia (d. 1906), may be looked upon as the founders of the study of Italian dialects, and who have applied to their writings a rigidly methodical procedure and a historical and comparative standard, which have borne the best fruit. For historical studies dealing specially with the literary language, Nannucci, with his good judgment and breadth of view, led the way; we need only mention here his _Analisi critica dei verbi italiani_ (Florence, 1844). But the new method was to show how much more it was to and did effect. When this movement on the part of the scholars mentioned above became known, other enthusiasts soon joined them, and the _Arch. glottologico_ developed into a school, which began to produce many prominent works on language [among the first in order of date and merit may be mentioned "Gli Allotropi italiani," by U. A. Canello (1887), _Arch. glott._ iii. 285-419; and _Le Origini della lingua poetica italiana_, by N. Caix (d. 1882), (Florence, 1880)], and studies on the dialects. We shall here enumerate those of them which appear for one reason or another to have been the most notable. But, so far as works of a more general nature are concerned, we should first state that there have been other theories as to the classification of the Italian dialects (see also above the various notes on B. 1, 2 and C. 2) put forward by W. Meyer-Lübke (_Einführung in das Studium der romanischen Sprachwissenschaft_, Heidelberg, 1901; pp. 21-22), and M. Bartoli (_Altitalienische Chrestomathie, von P. Savj-Lopez und M. Bartoli_, Strassburg, 1903, pp. 171 et seq. 193 et seq., and the table at the end of the volume). W. Meyer-Lübke afterwards filled in details of the system which he had sketched in Gröber's _Grundriss der romanischen Philologie_, i., 2nd ed. (1904), pp. 696 et seq. And from the same author comes that masterly work, the _Italienische Grammatik_ (Leipzig, 1890), where the language and its dialects are set out in one organic whole, just as they are placed together in the concise chapter devoted to Italian in the above-mentioned _Grundriss_ (pp. 637 et seq.). We will now give the list, from which we omit, however, the works quoted incidentally throughout the text: B. 1 a: Parodi, _Arch. glott._ xiv. 1 sqq., xv. 1 sqq., xvi. 105 sqq. 333 sqq.; _Poesie in dial. tabbiese del sec. XVII. illustrate da E. G. Parodi_ (Spezia, 1904); Schädel, _Die Mundart von Ormea_ (Halle, 1903); Parodi, _Studj romanzi_, fascic. v.; b: Giacomino, _Arch. glott._ xv. 403 sqq.; Toppino, ib. xvi. 517 sqq.; Flechia, ib. xiv. 111 sqq.; Nigra, _Miscell. Ascoli_ (Turin, 1901), 247 sqq.; Renier, _Il Gelindo_ (Turin, 1896); Salvioni, _Rendiconti Istituto lombardo_, s. ii., vol. xxxvii. 522, sqq.; c: Salvioni, _Fonetica del dialetto di Milano_ (Turin, 1884); _Studi di filol. romanza_, viii. 1 sqq.; _Arch. glott._ ix. 188 sqq. xiii. 355 sqq.; _Rendic. Ist. lomb._ s. ii., vol. xxxv. 905 sqq.; xxxix. 477 sqq.; 505 sqq. 569 sqq. 603 sqq., xl. 719 sqq.; _Bollettino storico della Svizzera italiana_, xvii. and xviii.; Michael, _Der Dialekt des Poschiavotals_ (Halle, 1905); v. Ettmayer, _Bergamaskische Alpenmundarten_ (Leipzig, 1903); _Romanische Forschungen_, xiii. 321 sqq.; d: Mussafia, _Darstellung der romagnolischen Mundart_ (Vienna, 1871); Gaudenzi, _I Suoni ecc. della città di Bologna_ (Turin, 1889); Ungarelli, _Vocab. del dial. bologn. con una introduzione di A. Trauzzi sulla fonetica e sulla morfologia del dialetto_ (Bologna, 1901); Bertoni, _Il Dialetto di Modena_ (Turin, 1905); Pullé, "Schizzo dei dialetti del Frignano" in _L' Apennino modenese_. 673 sqq. (Rocca S. Casciano, 1895); Piagnoli, _Fonetica parmigiana_ (Turin, 1904); Restori, _Note fonetiche sui parlari dell' alta valle di Macra_ (Leghorn, 1892); Gorra, _Zeitschrift für romanische Philologie_, xvi. 372 sqq.; xiv. 133 sqq.; Nicoli, _Studi di filologia romanza_, viii. 197 sqq. B. 2: Hofmann, _Die logudoresische und campidanesische Mundart_ (Marburg, 1885); Wagner, _Lautlehre der südsardischen Mundarten_ (Malle a. S., 1907); Campus, _Fonetica del dialetto logudorese_ (Turin, 1901); Guarnerio, _Arch. glott._ xiii. 125 sqq., xiv. 131 sqq., 385 sqq. C. 1: Rossi, _Le Lettere di Messer Andrea Calmo_ (Turin, 1888); Wendriner, _Die paduanische Mundart bei Ruzante_ (Breslau, 1889); _Le Rime di Bartolomeo Cavassico notaio bellunese della prima metà del sec. xvi. con illustraz. e note di v. Cian, e con illustrazioni linguistiche e lessico a cura di C. Salvioni_ (2 vols., Bologna, 1893-1894); Gartner, _Zeitschr. für roman. Philol._ xvi. 183 sqq., 306 sqq.; Salvioni, _Arch. glott._ xvi. 245 sqq.; Vidossich, _Studi sul dialetto triestino_ (Triest, 1901); _Zeitschr. für rom. Phil._ xxvii. 749 sqq.; Ascoli, _Arch. glott._ xiv. 325 sqq.; Schneller, _Die romanischen Volksmundarten in Südtirol_, i. (Gera, 1870); von Slop, _Die tridentinische Mundart_ (Klagenfurt, 1888); Ive, _I Dialetti ladino-veneti dell' Istria_ (Strassburg, 1900). C. 2: Guarnerio, _Arch. glott._ xiii. 125 sqq., xiv. 131 sqq., 385 sqq. C. 3 a: Wentrup-Pitré, in Pitré, _Fiabe, novelle e racconti popolari siciliani_, vol. i., pp. cxviii. sqq.; Schneegans, _Laute und Lautentwickelung des sicil. Dialektes_ (Strassburg, 1888); De Gregorio, _Saggio di fonetica siciliana_ (Palermo, 1890); Pirandello, _Laute und Lautentwickelung der Mundart von Girgenti_ (Halle, 1891); Cremona, _Fonetica del Caltagironese_ (Acireale, 1895); Santangelo, Arch. glott. xvi. 479 sqq.; La Rosa, _Saggi di morfologia siciliana_, i. _Sostantivi_ (Noto, 1901); Salvioni, _Rendic. Ist. lomb._ s. ii., vol. xl. 1046 sqq., 1106 sqq., 1145 sqq.; b: Scerbo, _Sul dialetto calabro_ (Florence, 1886); Accattati's, _Vocabolario del dial. calabrese_ (Castrovillari, 1895); Gentili, _Fonetica del dialetto cosentino_ (Milan, 1897); Wentrup, _Beiträge zur Kenntniss der neapolitanischen Mundart_ (Wittenberg, 1855); Subak, _Die Konjugation im Neapolitanischen_ (Vienna, 1897); Morosi, _Arch. glott._ iv. 117 sqq.; De Noto, _Appunti di fonetica sul dial. di Taranto_ (Trani, 1897); Subak, _Das Zeitwort in der Mundart von Tarent_ (Brünn, 1897); Panareo, _Fonetica del dial. di Maglie d' Otranto_ (Milan, 1903); Nitti di Vito, _Il Dial. di Bari_, part 1, "Vocalismo moderno" (Milan, 1896); Abbatescianni, _Fonologia del dial. barese_ (Avellino, 1896); Zingarelli, _Arch. glott._ xv. 83 sqq., 226 sqq.; Ziccardi, _Studi glottologici_, iv. 171 sqq.; D' Ovidio, _Arch. glott._ iv. 145 sqq., 403 sqq.; Finamore, _Vocabolario dell' uso abruzzese_ (2nd ed., Città di Castello, 1893); Rollin, _Mitteilung XIV. der Gesellschaft zur Förderung deutscher Wissenschaft, Kunst und Literatur in Böhmen_ (Prague, 1901); De Lollis, _Arch. glott._ xii. 1 sqq., 187 sqq.; _Miscell. Ascoli_, 275 sqq.; Savini, _La Grammatica e il lessico del dial. teramano_ (Turin, 1881). C. 4: Merlo, _Zeitschr. f. roman. Phil._, xxx. 11 sqq., 438 sqq., xxxi. 157 sqq.; E. Monaci (notes on old Roman), _Rendic. dei Lincei_, Feb. 21st, 1892, p. 94 sqq.; Rossi-Casè, _Bollett. di stor. patria degli Abruzzi_, vi.; Crocioni, _Miscell. Monaci_, pp. 429 sqq.; Ceci, _Arch. glott._ x. 167 sqq.; Parodi, ib. xiii. 299 sqq.; Campanelli, _Fonetica del dial. reatino_ (Turin, 1896); Verga, _Sonetti e altre poesie di R. Torelli in dial. perugino_ (Milan, 1895); Bianchi, _Il Dialetto e la etnografia di Città di Castello_ (Città di Castello, 1888); Neumann-Spallart, _Zeitschrift für roman. Phil._ xxviii. 273 sqq., 450 sqq.; _Weitere Beiträge zur Charakteristik des Dialektes der Marche_ (Halle a. S., 1907); Crocioni, _Studi di fil. rom._, ix. 617 sqq.; _Studi romanzi_, fasc. 3°, 113 sqq., _Il Dial. di Arcevia_ (Rome, 1906); Lindsstrom, _Studi romanzi_, fasc. 5°, 237 sqq.; Crocioni, ib. 27 sqq. D.: Parodi, _Romania_, xviii.; Schwenke, _De dialecto quae carminibus popularibus tuscanicis a Tigrio editis continetur_ (Leipzig, 1872); Pieri, _Arch. glott._ xii. 107 sqq., 141 sqq., 161 sqq.; _Miscell. Caix-Canello_, 305 sqq.; _Note sul dialetto aretino_ (Pisa, 1886); _Zeitschr. für rom. Philol._ xxviii. 161 sqq.; Salvioni, _Arch. glott._ xvi. 395 sqq.; Hirsch, _Zeitschrift f. rom. Philol._ ix. 513 sqq., x. 56 sqq., 411 sqq. For researches on the etymology of all the Italian dialects, but chiefly of those of Northern Italy, the _Beitrag zur Kunde der norditalienischen Mundarten im XV. Jahrhundert_ of Ad. Mussafia (Vienna, 1873) and the _Postille etimologiche_ of Giov. Flechia (_Arch. glott._ ii., iii.) are of the greatest importance. Biondelli's book is of no small service also for the numerous translations which it contains of the Prodigal Son into Lombard, Piedmontese and Emilian dialects. A dialogue translated into the vernaculars of all parts of Italy will be found in Zuccagni Orlandini's _Raccolta di dialetti italiani con illustrazioni etnologiche_ (Florence, 1864). And every dialectal division is abundantly represented in a series of versions of a short novel of Boccaccio, which Papanti has published under the title _I Parlari italiani in Certaldo_, &c. (Leghorn, 1875). Entry: D