Same. Engr. [Marmocchi dis. Lasinio inc.] (In L'inferno, disposto da G. G Warren, Lord Vernon. 1858-65. Vol. iii. Plate 10.)

Same. [Outline.] Engr. (In L'ottimo commento della Divina commedia. 1827-29. Tom. i, opp. p. 1)

Inscription: "Quadro attribuito all' Orgagna." The same plate is used, without the inscription, in G. Rosini, "Storia della pittura italiana esposta coi monumenti," 2a ed., Pisa, 1850,

Portraits of Dante and Virgil. 2 photos. [From two square panel frescoes of 1501 in the chapel of S. Brizio, in the Cathedral of Orvieto.] Luigi Armoni, Orvieto. 734 × 63⁄4 in.

Gives the setting of these panels in relation to the designs from the Divina commedia. In Dante photograph album. Same. Dante. Photo. Luigi Armoni, Orvieto. 72 X 10 in.

The figure of Dante alone; on a larger scale than the preceding. In Dante photograph album.

Same. Dante. Photo-engr. (In his Illustrationen zu Dante's Divina commedia, herausgegeben von F. X. Kraus.

1892.)

Same. Dante. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 194.)

A photo-engr. of the wall containing the Dante portrait and four of the medallion illustrations by Signorelli, is given in Federn's "Dante," 1899, p. 175.

Same. Dante. Water-color. Copy from the fresco by an Ovieto artist. 63⁄4 × 61⁄2 in. (#11) See Paur, p. 265. Both the Dante and the Virgil have been reproduced in chromolithographs by the Arundel Society; (copies are in the Art Room of the Boston Public library)

RAFFAELLO SANTI, or SANZIO.

Disputa del Sacramento. Photo. [From fresco in the Vatican, painted in 1508.] Alinari. 9% × 75%

in.

In Dante portfolio, iv, where is also a photo. (Alinari) 9% X 71⁄2 in., of the lower right hand section of the fresco, containing the figure of Dante.

Same. Photo-engr. (In Reber, F. von, and Bayersdorfer, A., editors. Klassischer Bilderschatz. Bd. iv. München, 1892. Nr. 561-562.)

Same. Photo-engr. (In Knackfuss, H. Raffael. Bielefeld, etc., 1896. opp p. 55) From photo. by Braun, Clément & Cie.

Same. Engr. Gius. Mancinelli dis. Ant. Mannelli inc. (In Pistolesi, E. Il Vaticano descritto ed illustrato, con disegni a contorni diretti dal pittore C. Guerra. Vol. vii. 1829. Plate 32.) Same. Engr. (In Müntz, E. Raphaël, sa vie, son œuvre et son temps. Nouv. éd. 1886. opp. p. 340.)

Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 199) Same. Photo-engr. (In Federn, K. Dante. 1899. p. 178.)

Same. Mounted photo. [From a drawing.] "Nach Raphael." (In Göttliche Komödie, übersetzt von K. Witte. 1865. Frontisp. Same. 1876.)

Same. Photo-engr. [From a wdct.] (In La divina commedia. Ed. minore fatto sul testo di C. Witte. 1892. Frontisp.)

Same. Engr . L. Durantini dis. Ang. Testa inc. (In La divina commedia. 1815-17. Tom. [iv]. Frontisp.)

Same. Engr. Giacon inc. (In Amori e rime di Dante; [edited by L. Caranenti]. 1823. Frontisp.)

Same. Engr. Ismle Brattella inc. 1856. (In I quattro poeti italiani. Napoli, Giosuè Rondinella, 1859. Frontisp.)

Same. [With ornaments.] Engr. M. F. Dien sculp. (In Artaud de Montor, A. F. Histoire de Dante. 1841. Frontisp.)

A separate impression of this plate (5% X 8 in.) from which the names of Dante and Raphael have been removed, is in the Dante portfolio, i, where are also a lith (Imp. Becquet, Paris) and an engr. clipped from unknown sources.

Same. [Reversed] Etching. F. Halm exc. Kugelchen sculp. 3 × 5% in. Inscription: "Dante famoso poeta d'Italia. Sec[on]do l'originale nella Galleria Elle di Monaco." In Dante portfolio, i.

Same. Lith. Amand. (In De goddelijke komedie, in nederlandsche terzinen vertaald door J. Bohl. Lied ii. 1880. Frontisp.)

Same. Wdct. 434 X 61⁄2 in.

Has been extracted from some book, and cut down In Dante portfolio, 1.

A poor engr. of this head (Scollo dis. e inc., R. Morghen dir.) forms the frontisp. to the 1818 Florentine ed. of the Divina commedia.

The engrs. in Kannegiesser's German translation of the Commedia, 1816-21, (S. v. Perger del, F. G. Mansfeld sc.) and in 1825 ed. of the same (Siegert Bresl[au], Rosmasler Dresden]) are apparently based on the head of Dante in the Disputa, though the former is a rather free copy. The second appears also in the later editions of Kannegiesser and in Min's Russian translation of the Inferno, 1855

Raffael.

Same. Photo-engr. (In Knackfuss, H.
Bielefeld, etc., 1896. p. [59].)

Same. Engr. Stefo. Pozzi dis. Gius. Alcaide inc. (In Pistolesi, E. Il Vaticano descritto ed illustrato, con disegni a contorni diretti dal pittore C. Guerra. Vol. vii. 1829. Plate 33.) Same. Engr. (In Müntz, E. Raphael, sa vie, son œuvre et son temps. Nouv. éd. 1886. opp. p. 356.)

"Like all great masters, Raphael was perfectly aware of the necessity for generalizing in a monumental picture, and when we

turn to his version of Homer, Virgil and Dante, we soon discern how cleverly he confined himself to the broader characteristics required to suggest the individuality of the person represented.

The head of Homer] is moulded on that of Jove, whilst each feature separately reminds us of the agonized face of the Laocoon... Equally fine are the Virgil and the Dante, though both are duly subordinate to their inspired chief; and Dante presents the mask, the dress and colours preserved by Giotto and his followers, and described in the Centiloquio of Pucci. The bye-play is admirable in the group. Virgil, at Homer's side, calls Dante's attention to the music of the god; Dante carries the volume of the Divine comedy, in which he acknowledged the mastership of Virgil.... The noble heads of Homer, Dante, and Virgil, on one sheet at Windsor, are marvels of design unsurpassed by anything that Raphael ever drew.. Dante is full of portentous earnestness. Equal grandeur distinguishes the pen drawing for the whole figure in the Albertina " -Crowe and Cavalcaselle, Raphael, his life and works, 1885, vol. ii, pp. 82-85.

Alinari. 72 × 93⁄4 in. (13)

Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 195.) Same. Photo-engr. (In Federn, K. Dante. 1899. p. 176.) Same. Wdet. (In The divine comedy, rendered into English by F. Pollock. 1854)

—5— Same; detail. Study for the figure of Dante. Photo. [From drawing in the Albertina at Vienna.] Autotype Co., London. 53⁄44 × 13 in. (114) Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 197.) Same. Photo-engr. (In Federn, K. Dante. 1899. p. 177.) Same. Photo-engr. (In Gigas, E. Italien. [1899?] p. 17.)

Same. Wdet. (In Müntz, E. Raphaël, sa vie, son œuvre et son temps. Nouv. éd. 1886. P. 354-)

- 6 Portrait of Dante attributed to Raffaello. Phototype. [From an oil-painting on a panel measuring 17 by 121⁄2 inches.] (In La divina comedia, con commenti secondo la scolastica del p. G. Ber thier. Vol. i. 1892-[97]. Frontisp.)

Same, separate. 434 × 65% in. (15)

Mr. Morris Moore, into whose possession the portrait came in 1857, believed it to have been copied by Raphael from the Bargello portrait The face in the present portrait, however, is turned to the right, there is a laurel crown above the cap, and the cloak is fastened with two peculiarly shaped bows, -three points of detail in which it differs from the Bargello portrait, to say nothing of the difference in expression. Mr. Moore claimed that the panel was painted for Raphael's friend, Cardinal Bembo, and from the latter's family passed into that of Gradenigo of Venice, and thence into the possession of the Counts Capodilista of Padua. See Ferrazzi, i, p. 396; also articles on the portrait by "G. C," and Morris Moore, entered in Part II

Same. Photo-engr. (In Boxеcтвенная комедія: Адъ, переводъ Н. Голованова. 1896. Frontisp.)

*.* On Raphael, besides the references given in the INDEX OF SUBJECTS, see Ferrazzi, ii, pp 345-347, 397-398.

BERNARDINO INDIA.

Portrait of Dante, in profile. Engr. [From a painting of 1572 in the collection of Count Danielo Lisca, of Verona.] Mich. Angelus Cornale del. M. Heylbrouck sculp. (In La divina commedia. 1727. Vol. [i]. Frontisp. Same. 1749.)

A separate copy of this plate is in the Dante portfolio, i. See Paur, p. 272.

Same. Engr. [Unsigned copy of preceding plate.] (In La commedia 1751. Tom. [i.] Frontisp.)

Also used in the 1772 ed. of Dante's complete works.

Same. Engr. J. M. Stock fecit. Lipsia, 1767. (In Von der Hölle, übersetzt von L. Bachenschwanz. 1767. Bd. [i]. Frontisp.)

Same. Engr. A. Zschokke sculps. Carls ruhe durch Kunst-Verlag. (In Die göttliche Komodie, frei übersetzt von J. F. Heigelin. 1836-37. Th. i. Frontisp.)

An engr. in Dante portfolio, i, (on sheet 834 X 101⁄2 in) signed Zschoch sc., Zwickau b. d. Geb. Schumann, may be a copy of the above engr., though the two differ in expression and in details.

Portraits of Can Grande and Bartolomeo della Scala, by Bernardino Ind a, engraved by Rossi, are given in Topin's French translation of the Paradiso, 1862.

JAN VAN Der straet, (Latin STRADANUS).

An ornate plate (8 × 10% in) in the Dante portfolio, i, (Ioan. Stradanus invent. C. Galle excud.) contains a portrait of Dante, with a medallion of Beatrice Portinari above, and of Virgil and Statius below. In the four corners of the engr. are plans of hell, purgatory, the heavens and paradise.

The portrait of Dante, reversed, Esme de Boulonois (?) fecit, is reproduced in an engr. of which there are two impressions in the Dante portfolio, i: -(1) on a leaf from some publication of the "Académie des sciences et des arts," liv. v, pp. 305-306; (2) on a sheet (7 X 11% in.) without any letter-press. On neither is the name of Stradanus mentioned. The portrait is copied in the frontisp, to Morigia's designs for the exterior of Dante's tomb, Florentiae, 1783 (see PART II).

The pose of Dante's head and his dress remind one of the Tofanelli-Morghen portrait of 1795. In both Dante is represented as holding in front of him a closed book, with the right hand in Tofanelli's picture, with both hands in that by Stradanus. It is from the latter, rather than from Raphael Morghen, that the vignette on the title-page of the 1819-21 ed. of the Commedia is taken (the note on p. 16 of this Catalogue to the contrary.)

The date and location of the original of this painting by Stradanus are unknown. Nothing is said of it in the recendy published reproductions of his illustrations to the Divine comedy made in 1587.

Same. Dante. Painted by Stradanus. Engraved by G. Cooke. London, published by Vernor Hood&Sharpe Poultry. 1807. 21⁄2 X 4 in.

In Dante portfolio, i. Neither in this nor in the following does the book spoken of above appear, but in several of them there are some meaningless lines taking its place.

Same. Engr. J. Stradan pt. Sisco sc. (In Le paradis, traduit par [A. F. Artaud de Montor]. 1811. Frontisp.)

A separate impression of this plate is in the Dante portfolio, i, where is also a second plate from which the pedestal and border have been removed.

Same. Engr. Stradanus pinx! Landon direx [Extracted from some work entitled "Hist[oire] d'Italie."] 24 X 34 in. In Dante portfolio, i.

Same. Engr. Zeelander sc. 21⁄2 × 4 in. In Dante portfolio, i, where is also an unsigned copy of these engravings, with different ornamentation (27% X 43% in.).

The portrait is said to be found in Mme. Chomel's "Collection de cent figures," 1813, but does not appear in the Cornell copy.

SCIPIONE PULZONE da Gaeta.

A mounted photo. of a portrait dating from the sixteenth century and preserved at Monte Cassino forms the frontisp. to the edition of the Commedia published by the monks of Monte Cassino in 1865.

UNKNOWN ARTISTS.

(1) Portrait of Dante, painted on wood. Supposed to be of the fifteenth century. In the Academy of Pisa. Engr. Elvira Rossi dis. e inc. (In La divine comédie: Le paradis, traduction par H. Topin. 1862. Tom. i. Frontisp.)

Closely resembles the portrait belonging to Missirini. (2) Dante. Colored photo-engr. [From a sixteenth century painting, belonging to the Ravenna school.] (In Con Dante e per Dante. 1898. Frontisp.)

Same; separate. 3 X 334 in. (216)

(3) Group of three portraits from a fresco in the church of S. Maria in Porto, near Ravenna. [The one on the right is supposed to be Dante.] Photoengr. (In Ricci, C. L'ultimo rifugio di Dante. 1891. p. 288.)

Same. Photo-engr. (In La divina commedia, illustrata a cura di C. Ricci. 1898. p. xix.) Same. [Figure of Dante; from a drawing.] Photo-engr. (In Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel. 1897. Frontisp.)

This is the portrait described in Savini's "I papi, i cardinali, i chierici," etc., 1890.

(4) Portrait of Dante, painted on wood. Photoengr. [Printed on a souvenir postal card published by L. Franceschini e C., Firenze, 1900.]

In Dante portfolio, iii. Above Dante's head, which is in profile, are two doves, a halo, and the words: Si deus cur no[n] homo. The painting is referred to by Ferrazzi, iv, p. 192, as having been exhibited at the Esposizione dantesca of 1865.

PORTRAITS FROM MANUSCRIPTS. FLORENCE.

Biblioteca Laurenziana.

Codice 174 (Strozziano). Full length figure of Dante, standing on a small platform, with an open book in his hands. Several books are also lying at his feet. Reproduced for the first time in an engr. (Giunio Carbone disegnò, 1861) in L'album, 8 giugno, 1861, an. xxviii, distribuzione 17, (1017 G 124), where it is described by L. C. Ferrucci. A chromolithograph after a copy by C. Ciani is in A. Gotti's edition of the Vita nuova, 1890. A phototype from the original is in Berthier's edition of the Divina commedia, vol. i, 1892-[97].

Biblioteca Nazionale Centrale.

Palatina 320. Profile of Dante; head and shoulders. Pen drawing, lightly covered with water colors. An engr. by Livy is in Palermo's "Manoscritti palatini di Firenze," vol. ii, 1860, opp. p. [597], and a photo-engr. from the original is in Kraus, "Dante, sein Leben und sein Werk," 1897, p. 175. A photo-engr. from the latter is in Federn's "Dante," 1899, p. 174.

"Esso è evidentemente opera della seconda metà del secolo xv, alla quale età deve del pari riportarsi la scrittura del libro, non ostante che il cavaliere Palermo l'abbia nel catalogo di quella biblioteca assegnato al secolo antecedente." - Milanesi and Passerini, Primo rapporto.

Kraus considers this the most important portrait of Dante after that in the Bargello, believing it the production, at first or second hand, of some one who knew Dante. He would date it from the fourteenth rather than the fifteenth century. Palermo and others have rashly attributed it to Giotto. It resembles in some respects the Bargello fresco, but represents the poet as of maturer age.

Biblioteca Riccardiana.

Codice 1040. Profile of Dante; head and shoulders. Photo. made for Prof. G. R. Carpenter, and by him presented to this Collection. In Dante portfolio, iv.

Also a small phot., 2 X 25% in. (1o), a phototype in Locella's "Dante in der deutschen Kunst," 1890, -photo-engrs. in Kraus, "Dante, sein Leben und sein Werk," 1897, p. 183, and on the title-page of the reprint of the Duke of Sermoneta's "Lettere al conte Carlo Troya," 1900, (1019 G 230).

In the Dante portfolio, iii, is a souvenir postal card published by L. Franceschini e C, Firenze, 1900, containing a photo-engr. of this portrait. An etching is given in the 1888 ed. of the Commedia with the comment of Talice da Ricaldone, and the same plate forms the frontisp. to Negroni's "Del ritratto di Dante," 1888, who gives a lengthy argument in support of the authenticity of the portrait.

This portrait was adjudged the most authentic of existing portraits of Dante by the governmental commission of 1864, consisting of G. Milanesi and L. Passerini. The verdict of the commission has not been accepted by scholars generally. The portrait dates probably from the second half of the fifteenth century. MODENA.

Biblioteca Estense.

Ms. VIII. F. 22. Full length figure of Dante, seated before a table on which are writing materials and an open book. Phototype in Prompt, “Les œuvres latines apocryphes du Dante," 1893, plate 2. A copy of the original photo. by Sorgato, of Modena, was exhibited at the Dresden Dante exhibition, 1888, under the title "Studio di Dante."

PARIS.

Bibliothèque Nationale.

Ms. ital. 536. A 16th century inedited Italian translation of the De monarchia. A front view of the head of Dante forms the ornamentation of an initial C on the first page of the ms. A phototype of the initial and portrait is given in Prompt, " Les œuvres latines apocryphes du Dante," 1893, p. 7.

ROME.

Biblioteca Vaticana.

Codice 3199. Full length figure of Dante, standing, with open book in his hands. Wdct. forms frontisp. to Franciosi's "Il Dante vaticano e l'urbinate," 1896.

the

With the exception that Dante's right arm is not extended, pose is quite similar to that in Michelino's fresco.

ENGRAVED PORTRAITS.
Sixteenth Century.

The earliest engraved portrait of Dante in this collection is a wdct. on the title-page of the 1521 ed. of the Convito. It is characterized by strength of profile and the introduction of landscape for a background. Similar in general outline is the inferior wdct. on the title-page of the 1529 ed. of the Convito, but here Dante wears the vair tippet of a doctor of divinity. The 1529 ed. of the Commedia contains on the reverse of the title-page a large wdet. resembling that of 1521 in its simplicity, but being of superior workmanship and without a background; a reduced wdct. of it is in Giornale dantesco, 1900, an. viii, p. 131.

On the title-page of Giolito's Venetian ed. of 1536 is engraved an oval vignette, with profile view of a bust of Dante. The plate was also used in Morando's Venetian ed. of 1554. The head is copied, reversed and reduced in size, in a medallion on the title-page of the Lyons ed. of 1547, and, with the expression somewhat softened, in that of 1551, with its reissue of 1552. (The same medallion appears on the title-page of Brocchi's "Lettere sopra Dante," 1835.) Resembling the latter in its expression, but looking like a cut of an antique bust, is the oval vignette in Giolito's ed. of 1555. This is reproduced by Ford in his translation of the Inferno, 1865, and of the Divina commedia, 1870. Ford remarks upon an imaginary resemblance between it and the Bargello fresco. To this series of medallions belongs that on the title-page of Quadrio's edition of the Sette salmi penitenziali, 1753.

Presumably of the 16th century is an engr. from a metal plate (7% × 834 in.) in the Dante portfolio, i. It is inscribed at the bottom: Dante Alighieri po[eta]. Its source is unknown, but it probably comes from some series of engravings of famous men. To such a series belongs the much smaller copy of the plate (1% X 3 in.), inscribed:

Dantes Aligeri Poeta Florentinus. (Also in Dante portfolio, i.) The peculiarities of the cap, wreath, and cloak, as well as the expression, connect these with a highly ornate plate (64 X 8% in., closely trimmed) of unknown source, inscribed: Dante Alighieri poeta fiorentino. (In Dante portfolio, i.) The pose of the head and the characteristic details of the dress are reproduced in the miniature medallion of Dante on the title-page of Grangier's French translation of the Commedia, 1596, 1597, (Thomas de Leu sc.).

The editions of 1564, 1578, and 1596, published at Venice by Sessa, have on their title-pages an ornamental wdct. portrait of Dante which, according to Colomb de Batines, i, p 98, gave rise to the designation of these editions as edizioni del gran naso. is reproduced in Yriarte's "Françoise de Rimini," 1880, where it is erroneously stated to be from the Giunta edition.

It

In Dante portfolio, i, are two impressions of a portrait of Dante said to have been engraved by Theodore de Bry, Frankfort, 1597 (4% X 5% in.) One of them formed page 72 of some work, presum ably the "Icones virorum illustrium doctrina et eruditione præstantium, cum eorum vitis descriptis a J.J. Boissardo [and J. A. Lonicerus]; omnia in æs incisa per T. de Bry," Frankfort, 1597-99. This page has on its reverse the conclusion of an account of Albertus Magnus; the second impression is without any letter-press. The face is in profile, the head-dress resembles that of some monastic order, and over it is the poet's wreath. Below are inscribed the words: " Qui potuit patria magnum Florentia Datem pellere, nempe illo digna Ravena fuit.”

Eighteenth Century.

1754. Tomm. Gentili del. C. Gregory sc. This engr. illustrating the anonymous Vita di Dante" in the Magazzino toscano, 1754, tom. i, pp. 10-16, is the earliest dated portrait in this collection which gives the type of face made known to all by the Tofanelli-Morghen portrait of 1795. "Il ritratto," says the author of the article in a note on p. 16, è ricavato da uno molto antico e ben conser vato; molti de' più recenti che si veggono ne' luoghi pubblici in Toscana, e nella più parte delle nobilissime case fiorentine e codici con miniature, somigliano questo nostro." A separate copy of this engr. is in the Dante portfolio, i, and a comparison of it with the plate of 1757 (described below) shows that the two must have had a common origin.

1757. An anonymous engr. "tratto da un antico originale che trovasi nella Toscana" illustrates vol. i of Zatta's edition of Dante's works, 1757-58. It was also used in the 1759 ed. of Pelli's "Memorie" and copied in Zatta's cheaper edition of Dante's works, 1760. Zatta speaks of it as having been engraved but a short time before in Leghorn, and Paur, basing his information on a letter from Witte, refers to the portrait as appearing in the "Serie di ritratti di illustri toscani," Firenze, 1766, where it was stated that the picture belonged to Giovanni Battista Dei. In the Dante portfolio, i, is an engr. cavato da un quadro antico appresso il sigre Gio. Batta Dei antiquario di S. M. I. [il granduca]. Gius. Zocchi del. Franc. Allegrini sc. 1761." This, no doubt, is the plate to which Witte had reference. The pose of the head, the arrangement of the cap and wreath, and the style of dress, are identical with those in Gregory's engr. of the painting by Tommaso Gentili, who would seem to be the artist of the original painting spoken of as belonging to G. B. Dei.

1767. An engr. from a portrait formerly in the possession of M. de Floncel, royal censor in Paris, forms the frontisp. to the 1768 Paris ed. of the Commedia, Littret del. sc. 1767. It is copied in the 1819 London ed., C. Knight sculp. Copies of both of these plates are in the Dante portfolio, i, where is also an engr., almost identical with that by Knight, but very strangely signed: Raphael pinxt. A. Cor don sculp. The explanation would seem to be that the engraver had noted the resemblance between this and Tofanelli's painting engraved by Raphael Morghen. The engraver may have confused Raphael Morghen with Raphael Sanzio and so have felt at liberty to sign the plate simply Raphael pinxt. Certainly he could not have fancied any connection between this portrait and the frescoes by Raphael Sanzio in the Vatican.

1771. A poor engr. (Vincen. Tarchj. del. et scul.) in vol. i of the 1771-74 ed. of the Commedia, follows in a general way those of 1754 and 1757. Tofanelli Morghen.

1795. Idealized portrait of Dante. Engr. Slefano Tofanelli delined. Raffaello Morghen incise in Firenze. 9% X 12% in. (17)

This plate was first published in the 1795 folio edition of the Commedia with Dionisi's comment, (copy in the Harvard collection). It is also found in the Cornell copy of 1804-09 edition, with Rosini's notes. The careful copy of the original plate which is found in the Harvard copy of the Pisan ed. of 1830 is lacking in the Cornell copy.

Of Tofanelli's painting nothing is known. The portrait idealizes the type of face in the engrs. of 1754 and 1757 (described above).

Same. [Proof from unfinished plate. Without lettering. 9% X 12% in.

In Dante portfolio, i.

Same. Engr. Stefano Tofanelli dis. Pietro Ghigi inc. 9% × 13 in. In Dante portfolio, i.

Same. Engr. [Unsigned; dedicated to Giovambatista, conte da Persico, Podestà di Verona.] (In Dionisi, G. J. Preparazione istorica e critica. 1806. Tom. i. Frontisp.)

Same. [Reduced; oval.] Engr. Stefano Tofanelli delin, Raffello Morghen inc. (In La divina commedia. 1807-13. Tom. i. Frontisp.)

The same plate is used in the 1817 ed. of the Commedia with Venturi's comment, the 1823 ed. of Pelli's "Memorie," the Ottimo commento, 1827-29, and the 1837 Florentine ed. of the Commedia, edited by Niccolini and others.

Same. Engr. Inciso da L. Schiavonetti sopra quello di R. Morghen, delineato da S. Tofanelli. (In La divina commedia. 1808-09. Vol. i. Frontisp.) Same. Engr. William Henry Worthington. London, pub'd for the proprietor, December, Sheet 61⁄2 X 10% in.

1821. In Dante portfolio, 1.

Same. [Outline; oval; reversed.] Engr. Lasinio figlio incise. (In La divina commedia. Firenze, 1821. Tom. i. Frontisp. Same. 1826.)

A similar plate (G. Frauenfelder inc., Lit Richter e C) forms the frontisp. to the 1855 ed of Dante's minor works. Same. [Reversed.] Engr. Pamela Dantel [Mme. Daubigny] sc. (In La divina commedia. Parigi, 1820. Tom. i. Frontisp. Same. 1829.)

Same. Engr. R. Grave sc. (In La divina commedia. Londra, 1823, '22. Tom. i. Frontisp.)

A plate containing an India paper impression of this engr. and the t--p. to the above ed. is in the Dante portfolio, i.

Same. Engr. Sav. Cavallari inc. (In La divina commedia. 1837-55. Vol. i. Frontisp.)

In Dante portfolio, i.

Same. [With landscape for background.] Engraved by Wagstaff from a print by Raffaelle Morghen after a picture by Tofanelli. William Mackenzie, Glasgow, etc. 4 X 54 in.

In Dante portfolio, i. Also illustrates the article on Dante by E. A. Hawkes] in the "Imperial dictionary of universal biography.'

Same. Engr. Gravé par Foertonnier sur acier. 1% X 24 in.

Two impressions (one on a plate extracted from "Iconographie instructive," Paris, Paul Renouard) are in the Dante portfolio, i. A copy of this engr. is inserted in Couly's "L'exil du Dante."

Same. Engr. S. Tofanelli pinx'. E. Scriven sculp. Published June 2, 1806 by James Carpenter, Old Bond Street, [London]. 44 X 6% in. In Dante portfolio,

Same. [Reversed, and with drapery for background.] Engr. Dessiné et gravé d'après Morghen par Jouannin. 4 × 634 in.

In Dante portfolio, i.

In Dante portfolio, i.

A mounted photo. (2% X 3% in.) of an engr. is in Dante portfolio, in, and another, Soule Co., (5% X 7% in.) is in Dante portfolio, iv. Reproductions by photo-engr, are found in Ricci's "L'ultimo rifugio di Dante," 1891, opp. p. 8, Miss Phillimore's "Dante at Ravenna," 1898, and the anonymous article, " Poet of the church," 1896.

Poor, small, or unsigned copies of this engr. are found in the following editions of the Divina commedia :

1830. Napoli.

See also the 1850, 1865, 1866, 1895 editions of Cary's translation of the Commedia ; - O'Donnell's translation of 1852 and Wright's of 1891; - the 1842 and 1862 editions of the German translation by Kopisch and the 1870 edition of Puigbó's Spanish translation.

Sorbonne collection, Versailles. Full-face por. trait, engr. without date and of unknown origin. Reproduced in "Galeries historiques de Versailles," série x, portraits, no. 1727, from which a separate copy in the Dante portfolio, i, is extracted.

There is also a special impression (85% X 12% in.) in the Dante portfolio, i, and a phototype in Mabie's "Essays in literary interpretation," 1893, opp. p. 175.

Nineteenth Century.

cir. 1800. T. Stothard. A portrait bearing some slight resemblance to that by Bernardino India. Engr. (R. H. Cromek sc.) in Boyd's transla tion of the Commedia, 1802.

cir. 1810. Giuseppe Bossi. A_portrait_by this artist, at one time owned by the Marquis Trivulzio, is engraved in the Roveta ed. of the Commedia, 1820, and on a larger scale in the Milan ed. of the Convito, 1826, (Gigola dis. Fioroni inc.).

1820-21. A full-faced, rather poorly executed engr. (Bramati dis. Rados inc.) in the Milan ed. of the Commedia, 1820-21. The general cast of features would seem to connect this with the later and more frequently reproduced anonymous engr. of the Paduan ed. of 1822. This of 1820 is distinguishable by a thin wreath of laurels around the

cap.

The plate is used also in the Milan editions of 1829, 1830, 1851.

Same. Engr. E. Silvestri inc. (In Cesari, A. Bellezze della Divina commedia. 1845. Vol. i. Frontisp.)

Poor copies (P. Zandomeneghi dis. G. Dala inc.) are in the 1832 and 1833 editions of the Parnaso italiano," the 1832-33 and 1856-57 editions of the Commedia; - the Florentine ed. of 1840 (Lauro inc.); · -the Paris ed. of 1840 (unsigned); - the Turin ed. of 1840; - Kok's Dutch translation of the Inferno, n. d., (D. J. Sluyter sculps.).

toni.

1822. Unsigned engr. from unknown source in the 1822 Paduan ed. of the Commedia. If we can trust the inscription on a large-paper engr. of this portrait in the Dante portfolio, i, (G. Bossi dis. p. BetG. Garavaglia inc.) it would appear to be from a painting by a certain Bettoni. Paur suggests a connection between it and the so-called deathmask. It also bears considerable resemblance to Bossi's portrait (cir. 1810) and the engr. in the 1820-21 Milan ed. of the Divina commedia.

Same. [Oval.] Engr. H. C. Müller sc. 1823. Tom. i. (In Opere poetiche di Dante. Frontisp. Same. 1836.) A special impression of this plate (6 × 9 in.) is in the Dante portfolio, ì.

Same. Engr. A. Viviani dis. G. Dala inc. (In La divina commedia. Venezia, 1829. Frontisp.)

Same. Engr. Del Bene dis. P. Viviani inc. (In La divina commedia. Firenze, Le Monnier, 1837. Frontisp.)

This and the preceding have clouds for background.