You go to a place for a visit and deep in your heart you think that this place can be your own home and Zurich is such a place!
By the margin of fair Zurich's waters Dwelt a youth, whose fond heart, night and day, For the fairest of fair Zurich's daughters In a dream of love melted away.
It was a warm, bright day at the end of August. The interview with the elder had been fixed for half-past eleven, immediately after late mass. Our visitors did not take part in the service, but arrived just as it was over. First an elegant open carriage, drawn by two valuable horses, drove up with Miüsov and a distant relative of his, a young man of twenty, called Pyotr Fomitch Kalganov. This young man was preparing to enter the university. Miüsov, with whom he was staying for the time, was trying to persuade him to go abroad to the university of Zurich or Jena. The young man was still undecided. He was thoughtful and absent-minded. He was nice- looking, strongly built, and rather tall. There was a strange fixity in his gaze at times. Like all very absent-minded people he would sometimes stare at a person without seeing him. He was silent and rather awkward, but sometimes, when he was alone with any one, he became talkative and effusive, and would laugh at anything or nothing. But his animation vanished as quickly as it appeared. He was always well and even elaborately dressed; he had already some independent fortune and expectations of much more. He was a friend of Alyosha's.
In the 15th and 16th centuries the shapes, decoration and materials of drinking vessels were almost endless. A favourite object to be so adapted was an ostrich egg, and many can be seen in museums in elaborate silver mounts; coco-nuts were also used in the same way, and Chinese and other Oriental wares then of great variety, were often turned into cups and vases by ingeniously devised silver mounting. The use of drinking vessels either formed of actual horns or of other materials was common in the 15th and 16th centuries, especially in the north. They were usually provided with feet so as to serve as standing cups, and some of them were mounted with great richness. An excellent example is the famous drinking-horn in the possession of Queen's College, Oxford, dating from the 14th century. The medieval beliefs about "griffins' claws" still survived to this late date, and a horn cup in the British Museum bears the inscription "Ein Greifen Klau bin ich genannt, In Asia, Africa wohl bekannt." Another horn, probably that of an ibex, is in the same institution, and has a silver mount inscribed "Gryphi unguis divo Cuthberto dunelmensi sacer." The elegant natural curve of the horn adds greatly to the charm of the vessel. In Germany the ingenuity of the silversmith was turned in the direction of making vessels in the forms of animals, at times in allusion to the coat of arms of the patron. Stags, lions, bears and various birds are often found; the head generally removable so as to form a small cup Switzerland and south Germany had a special type, in the form of the figure of a peasant, generally in wood, carrying on his back a large basket, which edged with silver formed the drinking cup. This type is only found in wine-growing districts, the basket being used for carrying grapes. In Germany such cups are called "Buttenmann," in Switzerland "Tanzenmann." The royal and princely museums of Germany contain great numbers of such vessels, the Green Vault in Dresden in particular, while a good number are to be seen in our own great museums. A curious fancy, combining instruction with conviviality, was to make cups in the form of a globe, terrestrial or celestial, which are still useful as showing the state of geographical or astronomical knowledge at the time. Several of those made in the 16th century are still in existence, one in the British Museum, a second at Nancy, and others are in Copenhagen and Zurich and in private collections. The upper half of the globe is removable, leaving the lower as the drinking cup. Ivory both from the beauty of its colour and the evenness of its structure has been a favourite material for drinking vessels at all times, and would seem to have been continuously used from the earliest period, whether derived from Asia or Africa, while the semi-fossil mammoth ivory of Siberia has not been neglected. In general, however, the vessels made from this material presented no essential differences of form from those in wood, until the art of lathe-turning attained great perfection, when a wide field was opened for ingenuity and even extravagance of form. The most remarkable examples of the possibilities of this kind of mechanical skill are seen in the productions of the Nuremberg turners of the 17th century, whose elaborate and entirely useless _tours de force_ comprise among many other things standing cups of ivory sometimes 2 ft. high, exemplifying every eccentricity of which the lathe is capable. Peter Zick (d. 1632) and his three sons were celebrated for such work. Several pieces, doubtless from their hands, are in the British Museum. Entry: DRINKING
In Germany, and especially at Berlin and Munich, the Greek revival took hold of architecture in the early part of the century in a more decisive but also in a more academical spirit than in England. The movement is connected more especially with the name of one eminent architect, Karl Friedrich Schinkel, who must have been a man of genius to have so impressed his taste on his generation as he did in Berlin, where he was regarded as the great and central power in the architecture of his day; yet his buildings are marked by learning and academical correctness rather than original genius. Elmes's St George's Hall, already referred to as one great English work of the classic revival, is by no means a mere piece of academical architecture; it exhibits in some of its details a great deal of originality, and in its general design a remarkably fine feeling for architectural grouping. In particular, the solid masses and the heavy square columns at the ends of his building, which seem like Greek architecture treated with Egyptian feeling, give support to, while they form a most effective contrast with, the richer and more delicate Corinthian order of the central portion. The only work of Schinkel's which shows something of the same feeling for contrast in architectural composition is one of his smaller buildings, the Konigswache or Royal Guard-house, in which a Doric colonnaded portico is effectively flanked and supported by two great masses of plain wall. But in general Schinkel does not seem to have known what to do with the angles of his buildings, or to have realized the value of mass as a support to his colonnades. This is strikingly exemplified in his museum at Berlin, where the tall narrow piers at the angles have a very weak effect, and are quite inadequate as a support to the long open colonnade. His Royal theatre also (fig. 87), though the central portico is fine, is monotonous and weak in its two-storeyed repetition of the small order in the wings, and it has also the fault (which it shares, no doubt, with a great many theatres, large and small) that its exterior design gives no hint of the theatre form; it might just as well be a museum. His. Nikolai Kirche (1830-1837) at Potsdam (fig. 88), which has considerable celebrity, though not so merely academical in character, and in fact possessed of a certain originality, has a fault of another kind, in its entire lack of architectural unity; the dome does not seem to belong to or to have any connexion with the substructure, while the portico is quite out of scale with the great block of building in its rear, and looks like a subsequent addition. The fault of the Schinkel school of architecture is an almost total want of what may be called architectural life; it is an artificial production of the studio. The same kind of cold classicism prevailed at Munich, where Leo von Klenze (1784-1864), though a lesser man than Schinkel, played somewhat the same part as the latter played at Berlin. His Propylaea (fig. 89), in which Greek and Egyptian influences are combined, is a characteristic example of his cold and scholastic style. His well known _Ruhmeshalle_, with its boldly projecting colonnaded wings and the colossal statue of Bavaria in front of it, is in its way a fine architectural conception--perhaps finer and more consistent in its kind than any one work of Schinkel, though he evidently did not exercise so wide an influence on the German art of his day. A third eminent name in the German classic revival is that of Gottfried Semper (1803-1879), somewhat later in date (Schinkel was born in 1781), but more or less of the same school. Semper practised successively at Dresden and at Zurich, but finally settled in Vienna, where, however, he did not live to see the execution of his two most important designs, the museum and the Hofburg theatre, which were carried out by Baron Karl von Hasenauer (1833-1894) from his designs, or approximately so. Semper's theatre at Dresden, however, shows that he could recognize the practical basis of architecture, as the expression of plan, in a way that Schinkel could not; for in that building he frankly adopted the curve of the auditorium as the _motif_ for his exterior design, thus producing a building which is obviously a theatre, and could not be taken for anything else, and putting some of that life into it which is so much wanting in Schinkel's rigid classicalities. Entry: FIG
MARCOU, JULES (1824-1898), Swiss-American geologist, was born at Salins, in the department of Jura, in France, on the 20th of April 1824. He was educated at Besançon and at the college of St Louis, Paris. He worked in early years with J. Thurmann (1804-1855) on the geology of the Jura mountains. In 1847 he went to North America as travelling geologist for the _Jardin des Plantes_, and in the following year in Boston he joined Agassiz, whom he had met in Switzerland, and accompanied him to the Lake Superior region. Marcou spent two years in studying the geology of various parts of the United States and Canada, and returned to Europe for a short time in 1850. In 1853 he published a _Geological Map of the United States, and the British Provinces of North America_. In 1855 he became professor of geology and palaeontology at the polytechnic school of Zurich, but relinquished this office in 1859, and in 1861 again returned to the United States, when he assisted Agassiz in founding the Museum of Comparative Zoology. In 1861 he published his _Geological Map of the World_ (2nd ed. 1875). Of his published papers the more noteworthy are those on the Jura-Cretaceous formations of the Jura, on the "Dyas" (Permian) of Nebraska, and on the Taconic rocks of Vermont and Canada. His other works include _Lettres sur les roches du Jura et leur distribution géographique dans les deux hémisphères_ (1857-1860) and _Geology of North America_ (1858). Marcou died at Cambridge, Mass., on the 17th of April 1898. Entry: MARCOU
Switzerland affords perhaps the best type of a democratic system of local authorities. The central authority is the canton, not the federation. The interference of the federal authority is confined to the imposition of certain broad principles by the constitution, to the indirect influence exerted by the examination of recruits for the national army, and to financial grants for technical instruction, its most important direct educational work being the support of the technological university at Zurich. The federal constitution (1) states that primary instruction must be under the control of the canton (an important point in view of the strength of ecclesiastical influence in some of the Catholic cantons), and must be compulsory and gratuitous; (2) declares that it must be possible for the public schools to be attended by the adherents of all creeds without hurting their freedom of conscience; (3) forbids the employment of child labour before completion of the fourteenth year, with a provision that in the fifteenth and sixteenth years factory work, together with the time given to school and religious instruction, must not exceed eleven hours a day. (4) All recruits for the federal army (in which service is compulsory on a militia basis) are examined in their twentieth year, and the results are published. This examination affords an instructive index to the state of education in the several cantons and promotes a healthy emulation among them. Entry: A
In Europe Christian burial was long associated entirely with the ordinary practice of committing the corpse to the grave. But in the middle of the 19th century many distinguished physicians and chemists, especially in Italy, began prominently to advocate cremation. In 1874, a congress called to consider the matter at Milan resolved to petition the Chamber of Deputies for a clause in the new sanitary code, permitting cremation under the supervision of the syndics of the commune. In Switzerland Dr Vegmann Ercolani was the champion of the cause (see his _Cremation the most Rational Method of Disposing of the Dead_, 4th ed., Zurich, 1874). So long ago as 1797 cremation was seriously discussed by the French Assembly under the Directory, and the events of the Franco-Prussian War again brought the subject under the notice of the medical press and the sanitary authorities. The military experiments at Sédan, Chalons and Metz, of burying large numbers of bodies with quicklime, or pitch and straw, were not successful, but very dangerous. The matter was considered by the municipal council of Paris in connexion with the new cemetery at Méry-sur-Oise; and the prefect of the Seine in 1874 sent a circular asking information to all the cremation societies in Europe. In Britain the subject had slumbered for two centuries, since in 1658 Sir Thomas Browne published his quaint _Hydriotaphia, or Urn-burial_, which was mainly founded on the _De funere Romanorum_ of the learned Kirchmannus. In 1817 Dr J. Jamieson gave a sketch of the "Origin of Cremation" (_Proc. Royal Soc. Edin._, 1817), and for many years prior to 1874 Dr Lord, medical officer of health for Hampstead, continued to urge the practical necessity for the introduction of the system. Entry: CREMATION
Two relief maps of Central Switzerland deserve to be mentioned, the one by R. L. Pfyffer in wax, now in Lucerne, the other by J. R. Meyer of Aarau and Müller of Engelberg in papier mâché, now in Zurich. Globes of the usual commercial type were manufactured in France by Delisle (1700), Forbin (1710-1731), R. and J. de Vaugondy (1752), Lalande (1771); in England by E. and G. Adams (1710-1766); Germany by Homann and Seutter (1750). A hollow celestial globe 18 ft. in diameter was set up by Dr Roger Long at Cambridge; the terrestrial globe which Count Ch. Gravie of Vergennes presented to Louis XVI. in 1787 had a diameter of 26 metres, or 85 ft. Entry: T
The poet's high dream of a knightly national regeneration had a rude awakening. The attack on the papacy, and Luther's vast and sudden popularity, frightened Elector Albert, who dismissed Hutten from his court. Hoping for imperial favour, he betook himself to Charles V.; but that young prince would have none of him. So he returned to his friends, and they rejoiced greatly to see him still alive; for Pope Leo X. had ordered him to be arrested and sent to Rome, and assassins dogged his steps. He now attached himself more closely to Franz von Sickingen and the knightly movement. This also came to a disastrous end in the capture of the Ebernberg, and Sickingen's death; the higher nobles had triumphed; the archbishops avenged themselves on Lutheranism as interpreted by the knightly order. With Sickingen Hutten also finally fell. He fled to Basel, where Erasmus refused to see him, both for fear of his loathsome diseases, and also because the beggared knight was sure to borrow money from him. A paper war consequently broke out between the two Humanists, which embittered Hutten's last days, and stained the memory of Erasmus. From Basel Ulrich dragged himself to Mülhausen; and when the vengeance of Erasmus drove him thence, he went to Zurich. There the large heart of Zwingli welcomed him; he helped him with money, and found him a quiet refuge with the pastor of the little isle of Ufnau on the Zurich lake. There the frail and worn-out poet, writing swift satire to the end, died at the end of August or beginning of September 1523 at the age of thirty-five. He left behind him some debts due to compassionate friends; he did not even own a single book, and all his goods amounted to the clothes on his back, a bundle of letters, and that valiant pen which had fought so many a sharp battle, and had won for the poor knight-errant a sure place in the annals of literature. Entry: HUTTEN
CAPITO (or KÖPFEL), WOLFGANG [FABRICIUS] (1478-1541), German reformer, was born of humble parentage at Hagenau in Alsace. He was educated for the medical profession, but also studied law, and applied himself so earnestly to theology that he received the doctorate in that faculty also, and, having joined the Benedictines, taught for some time at Freiburg. He acted for three years as pastor in Bruchsal, and was then called to the cathedral church of Basel (1515). Here he made the acquaintance of Zwingli and began to correspond with Luther. In 1519 he removed to Mainz at the request of Albrecht, archbishop of that city, who soon made him his chancellor. In 1523 he settled at Strassburg, where he remained till his death in November 1541. He had found it increasingly difficult to reconcile the new religion with the old, and from 1524 was one of the leaders of the reformed faith in Strassburg. He took a prominent part in the earlier ecclesiastical transactions of the 16th century, was present at the second conference of Zurich and at the conference of Marburg, and along with Martin Bucer drew up the _Confessio Tetrapolitana_. Capito was always more concerned for the "unity of the spirit" than for dogmatic formularies, and from his endeavours to conciliate the Lutheran and Zwinglian parties in regard to the sacraments, he seems to have incurred the suspicions of his own friends; while from his intimacy with Martin Cellarius and other divines of the Socinian school he drew on himself the charge of Arianism. His principal works were:--_Institutionum Hebraicarum libri duo; Enarrationes in Habacuc et Hoseam Prophetas_; a life of Oecolampadius and an account of the synod of Berne (1532). Entry: CAPITO
_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