Same. Phototype. (In Locella, G., editor.
Dante in der deutschen Kunst. 1890.)

A small phototype is in Levi's "Dante, di giorno in giorno,"
1894.

Same. Photo-engr. (In Kraus, F. X.
Dante, sein Leben und sein Werk. 1897. p. 169.)
Same. Photo-engr. (In Vising, J. Hvad
vi beundra i Dantes Komedi. 1895)

Same. Engr. Seymour Kirkup disegno.
Cav. Paolo Lasinio inc. (In L'inferno, disposto da
Lord Vernon. 1842. Frontisp.)

A different plate from the preceding, though almost identical
with it and having the same inscription, with the Vernon coat of
arms. Plate 3 of the Vernon Dante is an engr. by the same
artists, the full size of the original, giving the outline of the face
only.

Same. Wdet. (In the Century. Feb. 1884.
Vol. xxvii, p. 579.)

Same. Wdct. (In Rod, E. Dante.

1891.
Frontisp)
Wdcts, from Kırkup's sketch, also form the frontisp. to Mar-
tin's translation of the Vita nuova, 1862, 1864, 1893.

Same. [With eye restored.] Engr. Sey-
G. Cumming Dundee

mour Kirkup Esq delint.
sculp. (In The poems of the Vita nuova and Con-
vito, translated by C. Lyell. 1842. opp. p. xvii.)

Plate dated 7th March 1843.

Same. Engr. Seymour Kirkup dissegnò
[sic]. (In La commedia, illustrata da U. Foscolo.
1842-43. Tom. iii. Frontisp.)

Stipple work. The same plate is used in Mazzinghi's "Brief
notice of some recent researches," 1844. [Also in the 1845 ed.
of Wright's translation of the Divine comedy, a copy of which is
in the Harvard collection.]

Same. Engr. Richard del. P. Nocchi
inc. (In The early life, [translated] by J. Garrow.
1846. Frontisp.)

Same. Engr. Gest. v. Jul. Thaeter. (In
Witte, (JH. F.) K. Dante Forschungen. Bd. i.
[1869.] Frontisp)

The same plate is used in Jacobson's translation of the Vita
nuova, 1877.

Die

Of Faltoni's copy Paur (p. 302) says: "Sie ist in einen ova-
len Goldrahmen gefasst und trägt die Unterschrift des Zeichners
Faltoni mit der Jahreszahl 1849. Das Bild ist nicht farbig,
sondern clair-obscur, nur der zum Vorschein kommende Streifen
des Untergewandes und der Schnitt des Buches sind grun.
Formen stimmen im Allgemeinen mit der Kopie von Kirkup
überein; das Profil jedoch lässt die Idealität des von Kirkup
überlieferten Originals entschieden vermissen und gewährt, im
Vergleiche zu diesem, den Anschein emer mehr peinlichen als
treffenden Nachbildung."

3- Same. Portrait of Dante, after restora-
tion by Antonio Marini. Water-color. Original
copy by Carlo Facchinetti. 334 × 54 in. (3)

Same. Mounted photo. (In La divina com-
media, recata da D. Venturini. 1865. Vol. i.
Frontisp.)

Same. Mounted photo. (In A translation
of Dante's Purgatorio, by D. Johnston. 1867.
Frontisp.)

Same. Photogravure. (In The divine
comedy, translated by H. F. Cary, together with
D. G. Rossetti's translation of the New life. 1897.
Frontisp.)

Same. Phototype. (In The divine comedy,
translated by J. A. Wilstach. 1888. Vol. ii. Fron-
tisp.)

Same.

Phototype. (In Locella, G., editor.
Dante in der deutschen Kunst. 1890.)

A phototype of the figure of Dante, without the projecting
hand or any trace of a background, forms the frontisp. to Baynes,
"Dante and his ideal," 1891.

Same. Photo-engr. (In Thode, Henry.
Giotto. Bielefeld, etc., 1899. p. 54.)

Photo-engrs. (with the shadowy figures in the background)
also illustrate Berthier's ed. of the Commedia, vol. i, 1892-[97],
p. 4; W. F. Barnard's sonnet "To Dante," 1895; - Farrar's
essay on Dante in his "Great books," 1898.

Same. Engr. Phillibrown [sc.] (In The
vision, translated by H. F. Cary. 1845. Frontisp.
Same. 1890.)

A separate copy of this engr. on a larger sheet is in the Dante
portfolio, i.
Same. Engr. Disegnato e inciso da T
Aloysio-Juvara. (In Dante e il suo secolo. 1865.
Frontisp.)

The branch in Dante's hand is here a sprig of flowers.
Same. Engr. Gest. v. Weger, Leipzig.
(In Göttliche Comödie, metrisch übertragen von
Philalethes. 1865-66. Th. i. Frontisp.)

The branch is here a sprig of flowers. The same plate is used
in Bohl's Dutch translation of the Commedia, led i, [1891]. A
smaller copy of this plate, by the same engraver, is found in the
1868, 1871 and 1877 editions of the German translation by King
John of Saxony ;-
;- in the Roumanian translation of the Inferno
by M. P. Chitiu, 1883; in Hettinger's "Die Göttliche Komo-
die," 1889. and the English translation of the same, 1887, in
both of which it is unsigned; - in Sander's "Dante Alighien,"
1887.

Engrs form frontispp. to the various reprints and reissues of
Fraticelli's ed. of the Commedia, from 1860 to 1892; - the
Portuguese translation of the Inferno by Pinto de Campos,
1886; the Polish translation of the Purgatorio by Porębowicz,
1899; Lothian, "Dante and Beatrice," 1876; - Rosini, "II
conte Ugolino," 1843, vol. ii;-(reversed) in Wegele, "Dante
Alighieri's Leben und Werke," 1865.

A lith (Stanghi inc) forms the frontisp. to vol. i of the 1846-
48 ed. of the Commedia, and another, reversed, forms the
frontisp. to A. G. de Marzo's "Studi filosofici, morali, estetici,"
vol. i, 1873. A much inferior lith. is in the 1838 ed. of the In-
ferno with Bargigi's comment (presumably inserted after the
publication of the volume).

Wdct., after a water-color by Mussini, illustrates Geiger's
chapter on Dante in his "Renaissance und Humanismus in
Italien und Deutschland," 1882. (Paur, p. 302, gives the artist's
name as Musini, the Berlin Kupferstichkabinet as the depository
of the water-color, and its date as 1844) Wdcts. with the two
figures at Dante's side, are in Giornale illustrato, numero
del centenario, 13-19 maggio, 1865, p. 145-in Oliphant's
"Makers of Florence," 1888, p. 34; — same, 1889.

Wdcts of the restored portrait illustrate the German transla-
tion of the Commedia by Streckfuss, 1882, the Spanish translation
by Aranda y Sanjuan, 1871, the Russian translation of the Com-
media by Tchuiko, 1894, and of the Vita nuova by Federov,

1895:

Claassen, "Dante, sein Leben und seine Liebe," 1882;
Fassio, "Cenni sulle vicende del sepolcro di Dante," 1891,
(V. Turati inc);- -Piper, "Dante und seine Theologie," 1864,
(G. Dietrich sc.); - 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, Dominicis, and Lavelle.

P. 4.

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

M. F. Rossetti's "Shadow of Dante" contains a medallion
wdct, 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 Bar-
gello portrait for its basis.

Besides the numerous references to the literature on the Bar-
gello portrait given in the INDEX OF SUBJECTS, see Ferrazzi, ii,
pp. 329-331, 388-393; 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.

TORRIGIANI BUST.

Colored-plaster bust in the Uffizi Gallery, formerly
in the Palazzo del Nero, Florence. Photo. Alinari.
634 in. in diameter. (17)

"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 besass 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 ver-
rathen durch die Gleichheit der Dimensionen und gewisse iden-
tische Details (wie den unter dem Cappuccio hervortretenden
Haarbüschel, die gleiche Behandlung der Haare an den Schläfen,
die Zipfel des Baretts) den gleichen Ursprung.... . Ferrucci
allein hatte 1865 den Muth zu behaupten, dass hier von einem
Abguss der Leiche nicht Rede sein könne, und erst Ricci hat
dann 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 zusammenge
sunken, die Kinnlade nicht gefallen. Der angeblich Todte trägt
ein Barett, - - will man etwa annehmen, 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].
1895. opp. 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 Hut-
ton's Portraits in plaster," 1894, opp. p. 6, and in his "Liter-
ary landmarks of Florence," opp. p. 12.

A rather poor wdct. 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. 8 × 6% in. (28)
Another copy is in the Dante photograph album.

Same. Photo-engr. (In Ricci, C. L'ul-
timo rifugio di Dante. 1891. p. 280.)

Same. Photo-engr. (In Kraus, F X.
Dante, sein Leben und sein Werk. 1897. p. 185.)
Same. Engr. Kirkup dis. Lasinio inc.
(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 × 3% 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. Frontisp.)

Same. (In Lyell, C. Dello spirito cattolico
di Dante. 1844. Frontisp.)

A large-paper impression of this plate is in the Dante port-
folio, i.

Concerning this particular cast, Seymour Kirkup 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. xvii-xix)

The drawings from the Lyell cast all seem to be characterized
by a lock of hair falling over Dante's right temple, -not dis-
cernible in the reproductions from the Kirkup cast.

Same. Drawn, from a cast, by Henry Phil
lips, and on stone by R. J. Lane, A. R. A. M. &
N. Hanhart, lith. printers. 71⁄2 X 9 in.

Very fine and large plate. In Dante portfolio, i.
Same. Engr. H. W. Phillips del. T. Phil-
librown 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 port-
folio, 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. Plumptre. 1886-87. Vol. ii.
Frontisp.
Same. 1887-88.)

An engr. (Pérot) of the front view of the mask, surrounded
by a wreath, torms 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 488,
while a separate large-paper impression of the latter (51⁄2 81⁄2
in.) is in the Dante portfolio, i. A very poor wdet. of the front
view of the mask is in Pollock's translation of the Divine com-
edy, 1854, p. 567.