- 2 Same; detail. Croquis pour son tableau. Wacts. [Three preliminary sketches for the figure of Dante. Clipped from Le musée artistique et littéraire, 1881, tom. v, pp. 376-377.]

In Dante portfolio, ii.

Marcaggi, G. Filippo. [Illustrations to Inf. xii-xv, xviii, xxxii, xxxiii; Purg. iv, v; Par. xxi, xxiii, xxiv, engraved by various hands.] (In La divina commedia. 1757-58.) Marcovich,

[Miniature illustrations to Inf. v, Purg. ii, Par. xxx.] 3 engrs. Viviani inc. (In La divina commedia. Firenze, 1840.)

Maurizio, Felice de, illustrator. Commedia, con ragionamenti e note di N. Tommaséo. 1865; 1869. See Part I (D. C.).

Mazza, Salvatore, illustrator.

La divina commedia, esposta in prosa dal conte F. Trissino. 1864. See Part I (D. C.).

Mazzia, A. Dante. Wdet. (In Ongaro, F. dall'. Scritti d'arte. 1873. opp. p. 90.)

Meissonier, (Jean Louis) Ernest. Dante. [Full length figure.] Phototype. Silvestre & Cie., Paris. [Clipped from L'art français.]

In Dante portfolio, i. From a painting in the "Exposition Meissonier."

Mocchi, Giovanni. Dante presenting Giotto to Guido, signore di Ravenna. Photo. [From engr.] Soule Co., Boston, Mass. 8 × 6% in.

In Dante portfolio, iv. The original oil-painting of 1865 is in the Accademia di belle arti di Firenze. (According to Ferrazzi, ii, p. 407, it was exhibited at the Esposizione fiorentina in 1855.) Molmenti, Pompeo. La Pia de' Tolomei. Engr. [After an oil-painting.] Carattı dis. Gandini inc. In Strenna artistica. Milano, [1853?] opp. p. 47.) 1017 G 284 With description by Giovanni Veludo, pp. 47-52. Mücke, Heinrich. [Dante's dream of the Siren, Purg. xix. 31 et seq.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From drawing, of 1862, in the collection of King John of Saxony at Dresden.

Muller, Karl. [The discourse with St. Peter, Par. xxiv. 1-42.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From drawing, dated 1860, in the collection of King John of Saxony at Dresden.

Neher, Bernhard von. [Francesca and Paolo among the spirits of the second circle of hell, Inf. v. 27-78.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From monochrome, dated 1842, in the collection of King John of Saxony at Dresden.

Nenci, Francesco. See Adamolli, L., and F. Nenci, illustrators.

A vignette by Nenci (M. Zignani inc.) illustrating Inf. v. 11-12, is engraved on the title page of the Divina commedia, 1832, as contained in the Biblioteca portatile del viaggiatore, and in its reissue in 1833.

Perger, Sigmund Ferdinand, RITTER von. [The guardian of the gates of Purgatory, Purg. ix.] Engr. Mansfeld f. (In Die göttliche Komödie, herausgegeben von C. L. Kannegiesser. 1816-21. Th. ii.)

Pieraccini, Francesco. [Francesca and Paolo, Inf. v. 136.] [Capaneus, Inf. xiv. 63-64.] 2 engrs. M. Zignani incise. (In La divina commedia, con note di P. Costa. Firenze, 1830.)

Same. (In La divina commedia, col comento di P. Costa. Firenze, 1844)

Piglhein, Bruno. Beatrice. Etching. [After a pastel.] M. Fleischer. (In Zeitschrift für bildende Kunst. 1887. Jahrg. xxii, opp. p. 167.)

Pinelli, Bartolomeo. See references in Part II. Plüddemann, Hermann (Freihold). Dante bittend vor Kaiser Heinrich dem Siebenten. Wdct. [From original drawing, dated 1865.] (In Die Gartenlaube. 1865. No. 22, p. [341].) 1017 G 149 Illustrating Frenzel's "Dichter, Patriot und Prophet."

Podesti, Francesco. Dante nello studio di Giotto. Engr. [After oil-painting in the possession of the Count of Chatelleux.] Franc Clerici dis. ed inc. (In Canadelli, Carlo, compiler. Album. Esposizione di Belle Arti in Milano. Milano, [1838]. opp. p. 37.) 1017 C 63 b

With description by C. Porro, pp. 37-56.

Pollastrini, Enrico. Dante si trae un libro di sotto alle vesti, e prega frate Ilario lo voglia mandare in suo nome, dopo letto, ad Uguccione della Fagiuola. Engr. Viviani inc. (In [Scifone, Felice, translator and compiler.] Dizionario biografico universale. Vol. i. Firenze, 1840. opp. p. 95)

-2

2961 G I

Nello alla tomba della Pia de' Tolomei. Wdct. [After oil-painting] (In La esposizione del 1861; giornale. 24 luglio, 1862. Num. 38, p. 300.) 1017 G 245 With description by C. Scartabelli. Pollini, Cesare. See REPRODUCTIONS FROM MANUSCRIPTS. Rome. Biblioteca Vaticana. Urbinati 365.

Prati, Eugenio. [Dante and Beatrice.] Lith. (In Strenna trentina, letteraria e artistica per l'anno 1891. Trento, 1890. Frontisp.) 1019 C 168

Preller, Friedrich, Sr. [Dante lost in the selva oscura, Inf. i. 31 et seq.]. Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From drawing, dated 1872, in the collection of King John of Saxony at Dresden.

Same. Fhoto-engr. (In Federn, K. Dante. 1899. p. 15.)

Rappisardi, [Dante montant l'escalier de l'exil.] Engr. Elvira Rossi dis. e inc. (In La divine comédie: Le paradis, traduction par H. Topin. 1862. Tom. i, opp. p. 177.)

The same engr. is in Topin's "Fables de divers auteurs espagnols et italiens," 1872, and a slightly mutilated copy is in the Dante portfolio, i.

Rebellato, G. Ugolino. Lith. G. Rebellato dis. Venezia, 1864, Lit. Commerciale Imp. (In Morte del conte Ugolino; quadro di Dante ritratto in metro latino da Uguccione Nonvrai [pseud. of A. Piegadi] e da altri sei autori. [Venezia, 1864.] Frontisp.)

1014 G 14

Inscription: "E se non piangi, di che pianger suoli?" [Inf. xxxiii. 42.] Renevier, Dante in the cloister of Avellana. Wdct. [Clipped from the London Illustrated world, June 16, 1883, p. 157.]

In Dante scrap-book, i, p. 15. Lacks letter-press description. Same. Wact. (In Stiavelli, G., editor. Gli amori di Dante. 1888. opp. p. 176.)

Rethel, Alfred. [The grave of Manfred, Purg. iii. 127-129. Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From pen-and-ink drawing, of 1850, in the collection of King John of Saxony at Dresden.

Same. Phototype.

(In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 67.)

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 61.)

- 2 · Der Tod als Freund. Der Tod als Erwürger. Phototypes. (In Bassermann, A. Dantes Spuren in Italien. 1897. Plates 65, 66.)

Retzsch, M. [Charon and the souls on the bank of the Acheron, Inf. iii. 111.] Engr. (In Goettliche Comoedie: Hoelle [translated by John, King of Saxony]. 1833 )

-2- [Angel keeping watch over the gates of Purgatory, Purg. ix.] Engr. (In same. 1839-49. Th. ii.)

Reynolds, Sir Joshua. Ugolino. Photo. [From oil-painting of 1773 in possession of Earl Amherst, Knole Park.] Autotype Co., London. 93⁄44 × 8 in. In Dante photograph album.

The painting is described in Larousse, “Grand dictionnaire," tom. xv, 1876, p. 636.

Same. Lith. G. Forino. (In Giornale de' giovanetti. 1841-42. An. ii, p. 13.) Same. Wact. [Reversed.] (In Gerstenberg, H. W. von. Ugolin, comte de Gherardesca, ou La tour de la faim. Paris, n. d. Frontisp.) Rieder, Marcel. Dante mourning for Beatrice. Photo. [From original oil-painting, exhibited at the Champs Elysées Salon, 1894.] Braun, Clément et Cie. 10% X 71⁄2 in. (50)

Same. Photo-engr. [Clipped from Munsey's magazine, Sept. 1895, opp. p. 599.] In Dante portfolio, ii.

Same. Wdct. Engraved by Mme. JacobBazin. (In the Magazine of art. Sept. 1894. Vol. xvii, opp. p. 384.)

Referred to in some catalogues under the title: "Dante et les amies de Béatrice.

Rizzardini,

Varano coronato da Dante. Engr. Rizzardini dis. Dala inc. 2% × 4% in. In Dante portfolio, i.

Rossetti, Dante Gabriel. Beata Beatrix. Photo. [From oil-painting of 1863 in the National Gallery of British Art (Tate Gallery), London.] F. Hollyer. 934 × 1234 in. (#20)

Same. Etching. G. W. Rhead aq. (In the Portfolio. March, 1891. Vol. xxii, opp. p. 45.) With a description of the painting by F. G. Stephens. Same. Mounted photo. (In The Vita nuova. [Edited by R. Radcliffe-Whitehead.] London, 1892. Frontisp.)

Same. Photogravure. (In Wood, Mrs. E. Dante Rossetti and the Pre-Raphaelite movement. 1894. opp. p. 162.)

Same. Photo-engr. E. Calzone inc. Convito. Febb. 1895.)

(In Il

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 149.)

A photo-engr. also illustrates Ortensi's article on Rossetti, 1897.

-2- Same. Replica, with predella, in possession of Mr. Charles L. Hutchinson, of Chicago. Dated 1872. Photo. 51⁄2 X 9 in. (21)

Shows the frame designed by Rossetti.

A photo-engr. of this replica forms the frontispiece to Werner's magazine, Oct. 1897, vol. xx, no. 2. See Rossetti's letter on p. 143 of same.

A mounted photo. (6% x 8 in.) of the Beatrice, showing neither the frame nor the predella, is in Dante portfolio, iii.

Same; detail. Predella attached to the foregoing replica. Photo. 9 X 3% in. (22)

-3-Same. Study for the predella. Photo-engr. [From the crayon sketch of 1872 in the possession of Mr. Russell Rae.] (In the Art journal. Dec. 1899. P. 355.)

"This bears the initials D. G. R. to G. G. H.,' having been given to George Gordon Hake, son of Dr. Hake, who was for some time the secretary of Rossetti. In the opposite corner it is inscribed, Guardami ben; ben son, ben son Beatrice.". H. C. Marillier, loc. cit.

-4-Beatrice and her nurse. Photo-engr. [From pen-and-ink study.] (In Stephens, F. G. Dante Gabriel Rossetti. 1894. p. 94.)

—5— Beatrice at a marriage-feast denies Dante her salutation. Photogravure. [From water-color in the possession of Mr. Henry T. Wells, R. A.] (In Rossetti, W. M., editor. Ruskin, Rossetti, Preraphaelitism. 1899. opp. p. 114.)

Same, separate. 54 × 54 in. (#32) Same. Photo-engr. (In the Art journal. Dec. 1899. p. 355.)

A replica of this painting is in the possession of Professor C. E. Norton, who received it from Mr. Ruskin.

-6 The boat of love. Photo. [From original monochrome in the Birmingham Gallery, begun in 1864 but never fully worked out.] F. Hollyer. 9 X 124 in. (42)

The theme is found in Dante's sonnet Guido, vorrei che tu e Lapo ed io Same. Photogravure. (In Wood, Mrs. E. Dante Rossetti and the Pre-Raphaelite movement. 1894. opp. p. 180.)

-7-Dante. Photo-engr. [From rough pen-andink study.] (In Stephens, F. G. Dante Gabriel Rossetti. 1894. p. 51.)

- 8 Dante drawing an angel in memory of Beatrice; or, Dante on the anniversary of Beatrice's death. Photo. W. A. Mansell & Co., publ. 11% X 7% in. (23)

From the original water-color in the possession of the University of Oxford, to which it was presented by Mrs. Combe, whose husband was the original purchaser. The painting, which dates from about 1853, figured in the " Preraphaelite exhibition " of 1857, and was also exhibited at the Royal Academy in 1883. In 1849 Rossetti had made a pen-and-ink sketch of the same subject, differently treated, which he presented to Millais.

Same. Photogravure. Walter L. Colls, ph. (In Stephens, F. G. Dante Gabriel Rossetti. 1894. opp. p. 34.)

SC.

Same. Photo-engr. (In Westermann's Illustrierte deutsche Monatshefte. Juni, 1892. Bd. lxxii, P. 343.)

-9- Dante's dream. Photo. [From original oilpainting of 1871 in the Walker Gallery, Liverpool.] F. Hollyer. 20% X 14 in. (33)

A copy (8% 5% in.) of Hollyer's photo. by the Soule Co., Boston, is in Dante portfolio, iv. A photo-engr. illustrates Ortensi's article on Rossetti, and a wdct. is in Muther's "History of modern painting," 1896, vol. iii, p. 586.

Same. Photogravure. (In The new life, translated by D. G. Rossetti. Portland, Me., 1896. Frontisp.)

Same. Photo-engr. (In Westermann's Illustrierte deutsche Monatshefte. Juni, 1892. Bd. lxxii, P. 344.) Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 669.)

Same. Photo-engr. (In Federn, K. Dante.

1899. p. 151.)

This, and the preceding reproduction, are from a photogravure by the Berlin Photographische Gesellschaft; a smaller photo-engr., clipped from this company's catalogue, is inserted in the Fiske copy of Stephens's monograph on Rossetti.

Same. Wdet. Engraved by O. Lacour. (In the Magazine of art. 1889. p. 51.)

For notices of the painting see the Athenæum, Nov. 25, 1871, p. 694; Aug. 20, 1881, p. 250; Jan. 20, 1883, p. 94; Dec. 4, 187, p. 792. See also Part II, sub Caine, (T. H.) H.

For a description of a replica with a predella, see the Athenæum, Nov. 1, 1879, p. 567.

- 10- Same; detail. Early sketch for the full length figure of Dante. Photo-engr. (In Rossetti, D. G. Letters to William Allingham. [1897.] opp. p. 174.)

Dante wears a short beard and the figure is quite different from that of later studies and the finished painting.

Photo.

-II- Same; detail. Head of Dante. [From study in black and red chalk, ascribed to 1870.] Soule Co. 6 x 8 in. (34)

Photo-engrs. of this study are in Westermann's Illustrierte deutsche Monatshefte, Juni, 1892, Bd. lxxi, p. 340, and Lawton's "Folia dispersa," 1895, p. 16.

-12- Same; detail. Full length figure of Dante. Photo. [From chalk study for a replica of "Dante's dream," in the possession of Mr. Francis Buxton. Dated 1874] F. Hollyer. 5% × 134 in. (35)

-

-13 Same; detail. Beatrice, with Love bending over her. Photo. [From a crayon study] W. A. Mansell & Co., publ. 6% × 1034 in. (36)

-14-Same; detail. The dead Beatrice. Photo. [From crayon study dated 1871.] W. A. Mansell & Co, publ. 94 X 11 in. (37)

Same. Photo-engr. (In the Portfolio. 1883. Vol. xiv, opp. p. 91.)

A small photo-engr. is also given in Muther's "History of modern painting," 1896, vol. iii, p. 585.

15 Same; detail. Head of one of the attendant ladies. Photo [From crayon study ascribed to 1870.] W. A. Mansell & Co., publ. 85% × 11 in. (38)

- 16 Same; detail. Another crayon study for the head of one of the attendant ladies. Photo-engr. (In Stephens, F. G. Dante Gabriel Rossetti. 1894. p. 63.)

17 Dantis amor. Photo. [From pen-andink drawing of 1859, or 1860, formerly in the pos session of W. M. Rossetti.] W. A. Mansell & Co., publ. 6 X 63% in. (45)

Same. Photo-engr. (In the Art journal. Dec. 1899. p. 353-)

"The background is divided diagonally into day and night, the upper corner containing a sun with the face of Christ, and the lower corner, a moon with the face of Beatrice. Across the dividing line are the words L'amor che muove il sole e l'altre stele, and both the sun and moon have inscriptions of an appropriate character."- H. C. Marillier, op. cit., pp. 354-355

18 Dantis amor. Photo-engr. From penand-ink drawing dating from about 1866.] (In the Art journal. Dec. 1899. p. 354-)

"A much simpler conception than the last, representing merely the figure of Love, with the accessories, in a narrow upright oval." H. C. Marillier, op. cit., p. 355.

- 19- La donna della finestra. Photo. [From original oil-painting of 1879, formerly in the possession of Mr. F. S. Ellis, and now owned by Mr. W. R. Moss.] F. Hollyer. 9 X121⁄2 in. (39) Sometimes called "The Lady of Pity." Described at length in the Athenæum, Nov. 1, 1879, pp. 566-567.

Same. Photo-engr. (In the Art journal. Nov. 1899. p. 345.)

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 153.)

Same. Photogravure. (In Wood, Mrs. E. Dante Rossetti and the Pre-Raphaelite movement. 1894. opp. p. 256.)

Same.

Photo-engr. (In Stephens, F. G. Dante Gabriel Rossetti. 1894. p. 76.)

- 21- Francesca da Rimini. Photo. [From original water-color triptych of 1862, formerly in the possession of Mr. Leatheart.] F. Hollyer. 134 X 6% in. (27)

Same. Photo-engr. (In Ortensi, U. A contemporary painter-poet: D. G. Rossetti. 1897. p. 39.)

- 22 Same. Photo. [Another version of the episode of the reading of the book, pictured in the left compartment of the preceding. From watercolor, in possession of Mr. W. R. Moss, Lancaster, Eng.] F. Hollyer. 94 × 11 in. (28)

28 Salutatio Beatricis; or, Dante and Beatrice. In two compartments. 2 photos. F. Hollyer. 11% X10% in. each. (43)

Painted in 1859 as panels for a cabinet in the "Red House," built by William Morris at Upton. When Mr. Morris moved to London in 1865, these panels were removed from the cabinet and sold, and passed successively into the possession of Sir Frederick Burton, Mr. Leatheart, and Mr. F. J. Tennant, the latter of whom now owns them. The left panel represents the meeting of Dante and Beatrice in Florence (the second of those described in the Vita nuova) and the right panel the meeting in the Earthly Paradise, Purg. xxx.

"There are various replicas extant, both of the double design and of the meeting in Paradise; none so far as I am aware, of the meeting in Florence. The first of these, a water-color representing the one compartment only, was painted for Mr. G. P. Boyce in 1852, and given by him to Mr. Phillip Webb. It is generally known by the inscription: Guardami ben; ben son, ben son Beatrice. Another, also a water-color, was painted for Mr. William Graham in 1864, and a few years since was sold through Messrs. Agnew to a gentleman in Manchester, under the title Beatrice in Paradise.' A water-color replica of the double picture was done in the same year as the last for Lady Ashburton, and being referred to in some letter as a "double Dante," has been handed down under that title in Mr. W. M. Rossetti's list of his brother's works."— H. C. Marillier, Art journal, Dec. 1899, p. 355.

Same. Photogravure. 2 plates. (In Rossetti, W. M., editor. Ruskin, Rossetti, Preraphaelitism. 1899. opp. pp. 98, 264.)

30- The salutation of Beatrice. Photo-engr. [From the painting in the possession of Sir J. C. Holder.] (In the Art journal. Dec. 1899. p. 356.)

"It was left incomplete, and finished off as regards a portion of the background by another hand. It was commissioned by the late Mr. Frederick Ley and. ... It belongs to Rossetti's worst period, when his health had broken down finally and he was troubled, besides, by bad eye-sight.". H. C. Marillier, loc. cit.

31 Study of the head of Beatrice for the unfinished "Salutation of Beatrice," 1880. Photo. [From the drawing in the possession of Mr. Graham Robertson, Kensington, London.] F. Hollyer. II X 121⁄2 in. (#44)

Same. Photo-engr. (In the Portfolio. 1883. Vol. xiv, opp. p. 90.)

A small photo-engr. is also given in Muther's "History of modern painting," 1896, vol. iii, p. 588.

Rossetti's" Giotto painting Dante's portrait," 1852 (owned by Mr. Seddon) has never been reproduced. An excellent description of it may be seen in the Athenæum, Jan. 13, 1883, P. 59.

Sabatelli, Luigi. [Ugolino in the famine tower, Inf. xxxiii. 72-73] Engr. Pietro Bettelini incise. Luigi Bardi imprese. (In La divina commedia. 180409. Tom. i, opp. p. 196.)

See also Kraus, pp. 641-643. Scharf, George, illustrator. The divine comedy, rendered into English by F. Pollock. 1854. See Part I (D. C.- English).

Scheffer, Ary. Dante and Beatrice. Engr. [After oil-painting of 1846.] G. Bernasconi inc. (In La vita nuova. Venezia, 1865. Frontisp.)

Shows influence of the study of the Bargello portrait. The discovery of the latter coincided with the commencement of Scheffer's painting, and, says Mrs Grote in her "Memoir" of the artist, "Scheffer employed a young painter to go abroad and make a copy of this head for him, in order that he might reproduce on his own canvas the best attested likeness of the poet.

The original painting, with life-size figures, was owned by A. M. Hemming, residing near Utrecht, in the Netherlands; a replica, two-thirds the size of the original, was in the possession of the late C. C. Perkins, of Boston, Mass., while a still smaller replica was exhibited at Manchester in 1857.

Same. Engr. (In La divine comédie: Le paradis, traduction par H. Topin. 1862. Tom. ii, opp. p. 41.)

A mounted photo. of an engr. (Soule Co.) 43⁄4 × 8% in., is in the Dante portfolio, iv.

Same. Lith. A. C. Kruseman exct. (In Scheffer-Album. Haarlem, [186–?].)

Same. Lith. J. W. Thomas lith. (In The trilogy, or Dante's three visions, translated by J. W. Thomas. 1859-66. Pt. iii: Paradiso. Frontisp.)

Same. Photo-engr. (In The divine comedy, translated by J. A. Wilstach. 1888. Vol. i. Frontisp.)

SC.

Same. Wdet. A. Paquier del. L. Chapon (In Blanc, C. Histoire des peintres. École française. Tom. iii. Paris, 1865. Sub Scheffer, P. 5.) Same. Wdet. Butterworth & Heath sc. (In Leisure hour. May, 1865. Vol. xiv, opp. p. 279.)

Same. Wdet. (In La scuola educativa di Dante Alighieri. 1891.)

Same; detail. [Figure of Beatrice.] Engr. F. F. Jones [sc.] 54 X? in.

In Dante portfolio, ii. Subscription: "Purity." The top has been cut off. [Head of Beatrice.] ̊ Engr.

Same: detail. Sheet 5 X 71⁄2 in.

In Dante portfolio, ii.

—2—

Extracted from some book.

Francesca da Rimini. Eng. Disto e inciso da L. Calamatta. 18% X 141⁄2 in. (31)

A mounted photo. of Calamatta's engr. (Soule Co.) 8 × 5 in., is in the Dante portfolio, iv, and a photo-engr. of it in Lidforss, "Två blad ur Dantes Inferno," 1899.

"The most generally accepted original of this subject," says Mr. Claude Phillips, "is that in the Wallace Collection at Hertford House, an exactly similar picture - even down to the elaborate frame with the quotation from Dante graven on it - being in the Academy of Fine Arts at St. Petersburg." Another version of the painting has recently been bequeathed to the Louvre by the artist's daughter.

Scheffer's first conception of the picture is reproduced in Yriarte, Françoise de Rimini." opp. p. 28, from a sketch then in the possession of the artist's daughter. This may be the picture of 1821 which Champlin and Perkins refer to under the title "The shades of Francesca da Rimini and her lover appearing to Dante and Virgil."

Same. Lith. A. C. Kruseman exct. (In Scheffer-Album. Haarlem, [186-?].)

Same. Photo-engr. (In [La Ramée, Mlle. L. de.] Paolo and Francesca. By Ouida [pseud.]. 1895.)

Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 635.) From the photo. by Ad. Braun & Co.

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 198.)

Schiavoni, Michelangelo. [Illustrations to Inf. v, viii, xvi-xx, xxiii, xxiv; Purg. ii, iii, ix, xviii, xxx, xxxii, xxxiii; Par. xiv-xx, xxii, xxv-xxvii, xxxiii, engraved by various hands.] (In La divina commedia. 1757-58 )

The illustrations to Purg. xiv, xv, although signed "M. A. Chiavonio," are presumably by Schiavoni.

Schnorr von Carolsfeld, Julius. [Opening of the gates of the City of Dis, Inf. ix. 64-90.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From drawing, dated 1835, in the collection of King John of Saxony at Dresden.

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 29.)

Schwind, Moritz von. [St. Peter embraces Dante, after having examined him concerning faith, Par. xxiv. 148-154.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

From painting, dated 1849, in the collection of King John of Saxony at Dresden.

Signorelli, Luca. Illustrations to the Divina commedia. 11 photos. [From frescoes in the chapel of S. Brizio in the cathedral of Orvieto. Painted 1500-01.] Luigi Armoni, Orvieto. Average 10 X 734 in.

In Dante photograph-album.

This series of eleven pictures, all of which relate to the Purgatorio, was reproduced by the phototype process in book-form, with text by F. X. Kraus, Freiburg i. B., 1892. See Part II.

The second picture of the series is reproduced (together with Signorelli's "Orpheus and Eurydice") in Bassermann's "Dantes Spuren in Italien," 1897, plate 56. The illustrations to Purg. iv, viii, ix, x, are reproduced by photo-engrs. in Federn's "Dante," 1899, pp. 63, 65, 67, 72.

The frescoes are described by Crowe and Cavalcaselle in their "New history of painting in Italy," 1866, vol. iii, pp. 17-20.

For reproductions of Signorelli's lunettes in the chapel of S. Brizio see EARLY ITALIAN ART. For his portrait of Dante see p. 51 of this Catalogue.

Solomon, Simeon. Dante in esilio. Photo. [From water-color, dated 1895] W. A. Mansell & Co., publ. 94 X 13% in.

At the bottom is the inscription:" Ecco! è l'uomo che viene dal Inferno."

In Dante portfolio, i. Sorrien,

illustrator. Casella, album di letteratura italiana e di canto, da A. Bianchieri. n. d. See Part I (D. C.- French).

Steinle, Eduard. [Cacciaguida, Par. xviii] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890)

From drawing, dated 1845, in the collection of King John of Saxony at Dresden.

Stillman, Mrs. Marie SPARTALI. Dante at a wedding-feast. Photo. [From the original oil-painting of 1890.] 14% X 10 in. (29)

Gift of the artist.

Same. Photo-engr. (In Westermann's Illustrierte deutsche Monatshefte. Juli, 1892. Bd. lxxii, p. 495.)

Straet (Lat. Stradanus), Jan van der. Dante: illustrations to the Divine comedy, executed 1587, and reproduced in phototype from the originals in the Laurentian library of Florence. 1892. See Part II.

Photo-engrs. of the illustrations to Inf. i, vii, are in Kraus, "Dante, sein Leben und sein Werk," 1897, pp. 621, 623. The second of these is reproduced in Federn's "Dante," 1899, p. 23. Ticiani, Gaspero. [Illustrations to Inf. xxi, xxii, xxvi-xxx, xxxiv; Purg. i, vi, vii, x, xi, xix, xx, xxvixxix, xxxi, engraved by various hands.] (In La divina commedia. 1757-58.)

Tomaselli,

Those to Purg. xxvii, xxix, xxxi, are signed "G. Diziani," an evident slip of the engravers. L'esilio di Dante. Engr. P. Ahrens sc. (In Gallo, N., editor. Monumento di carità; album scientifico-letterario. 1857. opp. p. 181.) 1017 G 119 Symbolical picture in which Dante is represented as on board a ship in a high sea. Illustrates the article by F. Odorici.

Traquair, Mrs. Phoebe Anna, illustrator.__See Part II, sub [Black, J. S. and Mrs. P. A. Traquair]. Dante; illustrations and notes. 1890.

Trübner, Wilhelm. Aus Dante's "Hölle," (5. Gesang). Wdet. [After photo. by F. Hanfstaengl.] (In Illustrirte Zeitung. 30 Sept. 1897. Bd. cix, p. 437-)

With description by Fendler, p. 438.

Ulacacci, Niccola. Dante Alighieri ambasciatore dei fiorentini a Bonifacio VIII. N. Ulacacci inventava e disegnava in Livorno 1851. Lithographié par Nap. Thomas et imprimé par Becket frères à Paris. Di proprietà della Società Artistica Toscana di otto stampe. 214 X 171⁄2 in.

Rolled in case, (1017 T 71).

Vogel von Vogelstein, Carl (Christian). Divina commedia. Engr. Angefangen v. A. Rordorf und vollendet von C. Gonzenbach. (In Vogel von Vogelstein, C. (C). Die Hauptmomente von Goethe's Faust, Dante's Divina commedia und Virgil's Aeneis, bildlich dargestellt und nach ihrem innern Zusammenhange erläutert. 1861.)

xi, p. 81.)

The Dante picture, containing eleven compartments, is from an oil-panting in the Palazzo delle Crociette, Florence. Same. Engr. (In L'album. 1844. An. 1019 2 65 Same. Mounted photo. (In Dante e il suo secolo. 1865.) Same; detail. Seated figure of Dante. Piroli inc. (In L'album. 1847. An. xiv, p. 1.) 1019 z 68 For articles about this painting see Part II, sub Vogel von Vogelstein. See also Kraus, pp. 630-632.

Watts, George Frederick. Paolo and Fran cesca. Photo. [From the oil-painting of 1879 in the possession of the artist.] F. Hollyer. 104 X 121⁄2 in. (46)

Sime. Photo-engr. Swan photo. sc. (In Muther, R. History of modern painting. 1896. Vol. iii, p. 633.)

Same. Photo-engr. (In Magazine of art. Jan. 1897. Vol. xx, p. 202.)

Same. Photo-engr. (In Lidforss, E. Två

blad ur Dantes Inferno. 1899.)

-2 · Same. Earlier version. Photo. Soule Co., Boston, Mass. 64 × 84 in. (47)

Same. Photo-engr. (In [La Ramée, Mlle. L. de] Paolo and Francesca. By Ouida [pseud.]. 1895.)

Wright, J. W. Beatrice. Engr. H. T. Ryall. New York, D. Appleton & Co. [Extracted from some book, where it illustrated Byron's "Prophecy of Dante."]

In Dante portfolio, ii.