APPENDIX.-ICONOGRAPHY. The Library has issued a separate “Hand-list of framed reproductions of pictures and portreits belonging to the Dante Collection." In it are described 56 pictures, with more detailed information concerning them than is given in regard to most of the items described in the following pages. These framed reproductions are here referred to by the number given them in the “Hand-list,” preceded by a double cross, thus: (~1). It has been found impossible to draw a clearly defined line between portraits and some of the imaginative pictures of Dante classed in these lists under the head of Pictorial Illustrations. Expediency has usually been allowed to decide the individual cases. The rule has been to arrange the reproductions under the different headings in the following order: photographs, phototypes or photogravures, photo-engravings, engravings, lithographs, and woodcuts. The sizes of all reproductions not in books are given in inches, the first number being the width and the second the height of the surface of the picture, margins being disregarded. In this Appendix references are included to the recent work of Karl Federn, “Dante," Leipzig, etc., E. A. Seemann, 1899, although the book was received too late for insertion in the Catalogue itself. Unfortu nately many of its illustrations are photo-engravings from photo-engravings and the like, instead of being made directly from photographs. This gives them a certain indistinctness and makes them inferior to the same illustrations in the publications of Bassermann, Kraus, and Locella, from which many of them were apparently taken. PORTRAITS OF DANTE. References in the following pages to Paur are to his article on "Dante's Porträt," 1869. A more recent and almost as comprehensive an account of the subject is the chapter entitled “ Dante's körperliche Erscheinung; seine Bildnisse" in Kraus, “ Dante, sein Leben und sein Werk," 1897, pp. 159-202, the value of which as greatly enhanced by its excellent reproductions of the portraits in question. For the general literature of the subject see p. 549 of the INDEX OF SUBJECTS in this Catalogue. PORTRAIT IN THE BARGELLO, FLORENCE. (Palazzo del Podestà.) Portrait of Dante, commonly ascribed to Giotto. Chromo-lith. [Published by the Arundel Society, 1859, from sketch made by Seymour Kirkup previous to the restoration.] 121⁄2 × 17 in. (81) The portrait is found in a Gloria ɔ Paradise, where, according to the custom of the time, learned and renowned men are grouped at the foot of a painting in which saints and cherubim pay homage to God. With the decay of interest in art and letters in the seventeenth century the building containing this precious fresco was converted into a prison, called the Bargello, and its wall-paintings were covered with a coating of lime." Of this Gloria, as uncovered in 1840, there is a delicate outline engr. in Lord Vernon's edition of the Inferno, 1858-65, vol. iii, plate 1 (S Kirkup disegnò, P. Lasinio incise). The room containing this fre-co was originally the chapel of the Podestà, which now forms salon 4 of the National Museum, and the portrait is sometimes referred to in recent books as forming part of the latter collection. The portion of the fresco containing the portrait of Dante was uncovered July 21, 1840, — not 1841 as it is stated on the above plate and on many engravings. Much has been written concerning the date of this fresco and the share which Giotto may have had in its painting. An excellent summary of the opinions held by various students of Dante and of the history of Italian art is given by Kraus, pp. 164-174. Kraus himself inclines to the belief that the portrait is by Giotto and that it dates from between 1334 and 1337 (the date of Giotto's death). Same. Chromo-lith. (In L'inferno, disposto da G. G. Warren, Lord Vernon. 1858-65. Vol iii. Frontisp.) Same. Chromo-lith. Vincent Brooks, Day & Son. (In The Commedia and Canzoniere; a new translation by E. H. Plumptre. 1886-87. Vol. i. Frontisp.-Same. 1887-SS.) Though not so large a plate as the preceding, this is a more accurate copy of the Arundel Society chromo-hith, both as regards drawing and color. Same. Chromo-lith. Vincent Brooks, Day E Son. (In Vernon, W. W. Readings on the Purgatorio of Dante. 1889. Vol. i. Frontisp. Same. 1897.) Sime. Chromolith. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. opp. p. 161.) Same. Chromo-lith. (In Federn, K. Dante. 1899. opp. p. 1.) Same. Phototype (In Locella, G., editor. A small phototype is in Levi's "Dante, di giorno in giorno," Sime. Photo-engr. (In Kraus, F. X. Same. Photo-engr. (In Vising, J. Hvad vi beundra i Dantes Komedi. 1895) Same. Engr. Seymour Kirkup disegnò. [sic]. ( 1842-43 Same Engr. Seymour Kukup dissegnò Stipple work. The same plate is used in Mazzinghi's "Brief Sime Engr. Richard del. P. Nocchi Same. Engr. Gest. v. Jul. Theter. (In The same plate is used in Jacobson's translation of the Vita -2- Same. Portrait of Dante, before restora. tion. Chromolith, [From monochrome by Count Die Of Faltoni's copy Paur (p. 302) says: "Sie ist in einen ova -4 Same Portrait of Dante, after restora- - 161⁄2 x 21 in. (2) [Enlarged by F. Hollyer.] "Il restauratore non si conten:ò soltanto di rifar l'occh ́o, che Same. Mounted photo. (In La divina com- Same. Mounted photo. (In A translation Same. Photogravure. (In The divine Same. Phototype. (In The divine comedy, Giotto. (In Thode, Henry. Same. Photo-engr. Photo-engrs (with the shadowy figures in the background) Same. Engr. Phillibrown [se] (In The A separate copy of this engr on a larger sheet is in the Dante Same. Engr. Disegnato e inciso da T The branch in Dante's hand is here a sprig of flowers. The branch is here a sprig of flowers. The same plate is used Engrs form frontispp. to the various reprints and reissues of A lith (Stanghi inc ) forms the frontisp. to vol. i of the 1846- Wdct., after a water-color by Mussini, illustrates Geiger's Wdcts of the restored portrait illustrate the German transla- 1895:- Claassen, "Dante, sein Leben und seine Liebe," 1882; Fassio, Cenni sulle vicende del sepolcro di Dante," 1891, (I'. Turati inc):- Piper," Dante und seine Theologie," 1864, (G. Dietrich se); — Zendrini, “ Per il centenario di Dante," 1865. Outline wdcts. in Leisure hour, May, 1865, vol. xiv, p. 281; -L. Hutton's "Literary landmarks of Florence." 1807, opp. An outline engr. illustrates Vaccolini's article "Dante di Giotto," 1840. Inferior and small wdcts illustrate articles by Bellomo, Bertolotti, Bruni. Domimicis, and Lavelle. P. 4. Poor, small, or unsigned, copies of this portrait are found in the following editions of the Divina commedia : — 1855. Milano. 1856. Firenze. 1864. Firenze. 1869. Firenze. 1876. Napoli. 1878. Milano. 188. Milano. 1886. Firenze. 1887. Milano. 1887. Firenze. 1888. Firenze. 1890. Firenze. 1891. Firenze. 1894. Milano. M. F. Rossetti's “Shadow of Dante" contains a medallion wdet. comparing the Bargello profile of Dante with that of the Naples bust. The lith. in Lubin's ed. of the Commedia, 1881, though portraying the face of a middle-aged man, has the Bargello portrait for its basis. Besides the numerous references to the literature on the Bargello portrait given in the INDEX OF SUBJECTS, see Ferrazzi, ii, pp. 329-331, 387-373: v, pp 100-102; - Paur, pp. 292-330;the Quarterly review, Oct 1858, vol. civ, pp. 293-294;-J. J. Jarves, "Art studies: the old masters' of Italy; painting,' New York, 1861, pp. 133-137. "Seit langer Zeit hat man diesen Gips als eine von der Leiche Dante's abgenommene Todtenmaske betrachtet, und als solche ist das Werk von zahlreichen Schriftstellern abgebildet worden. Eine andere Maske dieser Art besass Lorenzo Bartolini, der sie an Kirkup abgab; eine dritte besas. Lyell, zwei andere von Gips und eine von Marmor befinden sich in dem Archivio comunale und der Biblioteca di Classe in Ravenna; alle diese Werke verrathen durch die Gleichheit der Dimensionen und gewisse identische Details (wie den unter dem Cappuccio hervortretenden Haarbüschel, die gleiche Behandlung der Haare an den Schlafen, die Zipfel des Baretts) den gleichen Ursprung.... Ferrucci alem hatte 1863 den Muth zu behaupten, dass hier von einem Abguss der Leiche nicht Rede sein könne, und erst Ricci hat daun definitiv mit dieser Annahme aufgeräumt. In der That hat diese Maske' nicht das im Tod erloschene Auge, sondern die Augen sind geöffnet, voll, die Lippen nicht zusammengesunken, die Kinnlade nicht gefallen. Der angeblich Todte trägt ein Barett, will man etwa aunehmen, dass ihm der Künstler ein solches behufs des Abgusses angezogen habe?"— Kraus, pp. 185-186. Kraus believes that the Torrigiani bust and its derivatives are not of earlier origin than the fifteenth century. Same. Photo-engr. (In Villari, P. The two first centuries of Florentine history. Vol. [ii]. 1895opp. p. 152) Same. [Without the circular frame-work.] Photo-engr (In Ricci, C. L'ultimo rifugio di Dante. 1891. p. 278.) The same cut appears on the cover-title of Vedel's "Dante," 1892, and in Kraus's “ Dante,” 1897, p. 184. A photo-engr. of the head alone is given in Laurence Hutton's Portraits in plaster," 1894, opp. p. 6, and in his "Literary landmarks of Florence," opp. p. 12. A rather poor wdet. in Lyell's translation of the "Poems of the Vita nuova and Convito," 1842, opp p. xv, and in Lyell's "Dello spirito cattolico di Dante," 1844, opp. p. xxi, gives a side view of the bust hanging in its frame. A large-paper copy of this plate is in the Dante portfolio, i. Same. [Side view] Etched from the orig [inal mask in the possession of the Marquis Torrigiani at Florence by L. Schmid, 1838. 9 × 11 in. Dedicated "To S Kirkup, Esq." Inscription:" E da esiglio venne a questa pace." In Dante portfolio, i Dante is here represented as lying on his death-bed, wearing, however, both the berretta and the laurel wreath. MASK OF DANTE. Plaster cast from the Torrigiani bust. Formerly in the possession of Seymour Kirkup. [Front and side views.] Photo. SX 61⁄2 in. (28) Another copy is in the Dante photograph album. Same. Photo-engr. (In Ricci, C. L'ultimo rifugio di Dante. 1891. p. 280.) Same. Photo-engr. (In Kraus, F X. Dante, sein Leben und sein Werk. 1897. p. 185.) Same. Engr. Lasinio inc. Kirkup dis. (In L'inferno, disposto da G. G. Warren, Lord Vernon. 1858-65. Vol. iii. Plate 6.) Same. Mounted photo. [From a copy of the cast given by Kirkup to J. A Symonds.] (In Symonds, J. A. Introduction to the study of Dante. 1872;- and in later editions and translations.) The view is taken a little from the side. The plates in the later eds. are photogravures and photo-engrs. A mounted photo, giving the front view of a copy of the mask is in the Inferno translated by T. W. Parsons, Boston, De Vries, Ibarra and Co., 1867. Three mounted photos, of the mask (2 X 35% in.), taken at different angles, are in Dante portfolio, iii. A wdct. of the side view, from a drawing by Kenyon Cox. is given in the Century, Feb. 1884. vol. xxvii, p. 574- Another wdct of the side view is in Vising's “Hvad vi beundra i Dantes Komedie," 1895. -2- Mask of Dante. Plaster cast from the Torrigiani bust. Formerly in the possession of Charles Lyell. H. W. Phillips del R. J. Lane, A. R. A., lith. M. & N. Hanhart, lith, printers. (In The poems of the Vita nuova and Convito, translated by C. Lyell. 1842. Frontist.) Same. (In Lyell. C. Dello spirito cattolico di Dante. 1844. Frontisp.) A large paper impression of this plate is in the Dante portfolio, i. Concerning this particular cast, Seymour Kirkun wrote to Mr. Lyell, under date of Feb. 27, 1842, as follows:-" The Marchese Torrigiani's bust of Dante is ascertained to be plaster coloured, and not terra-cotta as was supposed. This process of colouring may be the cause of the obliteration of the finer markings of the face observable in the mask from which your lithograph is taken, and of the smoother, fleshier, and more feminine appearance in the three drawings of Vito d'Ancona which were made for you. The mask which you have is from the mould in my possession, which I procured from the Cavalier Bartolini, the chief sculptor here, as a cast from the Torrigiani [bust]. There is a third cast which belonged to Ricci the sculptor, who made the Dante monument in Santa Croce. Ricci's heirs lent it to Fabris, who made use of it for the obverse of his medal of Dante. There are material, though slight differences in all the three." (Poems of the Vita nuova and Convito, translated by C. Lyell, 1842, Pp. xvin-xix) The drawings from the Lyell cast all seem to be characterized by a lock of hair falling over Dante's right temple, not discernible in the reproductions from the Kirkup cast. M. & Same. Drawn, from a cast, by Henry Phil lips, and on stone by R. J. Lane, A. R. A. N. Hanhart, lith, printers. 71⁄21⁄2 × 9 in. Very fine and large plate. In Dante portfolio, i. Same. Engr. H. W. Phillips del. T. Phillibrown sc. 3 X 4 in. In Dante portfolio, i. (In Same Lith. Day & Haghe, lithrs. Lyrical poems of Dante, translated by C. Lyell. 1845. Frontisp.) A large-paper impression of this plate is in the Dante portfolie, 1. Same. Lith. Imp. Lemercier, Paris. (In Boissard, F. Dante révolutionnaire et socialiste. 1858. Frontisp.) Same. Lith. Vincent Brooks, Day & Son, lith. (In The Commedia and Canzoniere; a new translation by E. H. Humptre. 1886-87. Vol. ii. Frontisp. Same. 1857-SS.) An engr. (Pérot) of the front view of the mask, surrounded by a wreath, forms the frontisp. to Cesena's French translation of the Convito, 1852. A similar plate, with the arms of the Portinari, Alighieri and Bardi added. (M. F. Dien sculp ) is in Artaud de Montor's "Histoire de Dante." 1841, opp. p 498, while a separate large-paper impression of the latter (52S1⁄2 in.) is in the Dante portfolio, i. A very poor wdct. of the front view of the mask is in Pollock's translation of the Divine comedy, 1854, p. 567. |