"The arrangement of the print of the Last Judgment [by Botticelli] corresponds with that in the picture by Fra Angelico, painted, as Vasari tells us, for the friars of the Angeli, now in the Accademia at Florence. Fra Angelico's picture is adapted, with much added detail and solemnity of treatment, from the fresco attributed to Orcagna, in the Campo Santo at Pisa. In both paintings, and in Botticelli's print, there is the adjunct, on the right, of a representation of Dante's Inferno, into which the wicked are driven, with Lucifer as a hideous monster sitting in the midst. In the Fra Angelico picture Lucifer is represented immersed to the waist in a caldron of liquid fire; he has no wings on his shoulders like those introduced in the [Botticelli] print. In the Orcagna fresco there is no caldron, and the entire figure of Lucifer, down to the feet, is seen."- R. Fisher, Introduction to a catalogue of the early Italian prints in the British Museum, 1886, p. 140.

Each

"Each of the five great painters of Italy, who were called upon to paint the awful scene of the Last Judgment, borrowed the imagery of Dante and reproduced his teaching. Yet how different has the subject become in the several hands of Giotto, Orcagna, Fra Angelico, Michael Angelo and Tintoret. threw the coloring of his own individual mind over the great subject of his contemplation, and became no less the reflex of his age and the phase of thought which pervaded it, than the scholars of Dante." - A. Owen, Art schools of medieval Christendom, edited by J. Ruskin, p. 191.

—2— Figures of six angels. Photogravures. [From the tabernacle painted in 1433 for the flaxinerchants' guild; now in the Uffizi Gallery, Florence ] Taber, Prang Co., Springfield, Mass. 61⁄4× 17 in. (51-56)

An outline engr. of the entire tabernacle, with its twelve angels surrounding the figure of the Madonna, is given in G. A. Bezzi's translation of Vasari's "Life of Giovanni Angelico da Fiesole," 1850, plate 13.

-3-Descent of Christ into Limbo. - The coronation of the Virgin. 2 photo-engrs. (In The divine comedy, translated by H. F. Cary. Edited by L. O. Kuhns. 1897. opp. pp. 58, 454.)

On Fra Angelico see Ferrazzi, ii, pp. 336-339. Bologna. S. Petronio. Inferno. [Fresco in the Capella Amorini, formerly the Capella Bolognini.] Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 653)

Buonarroti, Michelangelo. The Last Judg. ment. Phototype. [From fresco in the Sistine chapel in the Vatican.] (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 60.)

"From the time of Niccolo Pisano up to that of Michelangelo, this fearful subject, the Last Judgment, always had an irresistible attraction for the minds of the great artists, who vied with one another in their endeavour to portray with equal vividness, in sharp contrast, the joys of the just and the despair of the wicked. Their efforts were, no doubt, greatly due to the influence of the Divina commedia and they were, in fact, rivals of Dante, endeavouring to depict in their art the scenes which he had rendered in his immortal poem. They exhausted their invention in the effort to represent the frantic despair of the wicked at the sudden realisation of their awful condition; the body writhing with the torture of the mind in every conceivable attitude of pain and agony, so that the spectator turns shuddering away from such fearful scenes as Signorelli's Last Judgment in Orvieto, or that of Michelangelo at Rome. Unhappily, neither the artist nor the poet are able to depict with corresponding power the joys of the blessed. It would seem as if man, familiarised by a long apprenticeship with pain and sorrow, knew only too well how to represent them, either in poetry or on canvas, but that his invention fails him [in his attempt] to describe a joy which he cannot even approach with his imagination." Miss C. M. Phillimore, Fra Angelico, 1892, pp. 111-112.

Same. Engr. (In Sixty outlines from the principal works of M. A. Buonarotti [sic] in sculpture, painting, design and architecture. London, 1863. Plate 26.)

Same. Wact. (In Clément, Charles. Michelangelo. London, 1892. opp. p. 64) Another plate, opp. p. 92, shows the position of the fresco in the chapel

Same. 7 photo engrs. (In Knackfuss, H. Michelangelo. Bielefeld, etc., 1897. pp. 84-93.

Abb. 80-86.)

From photographs by Braun, Clément & Cie., of the entire fresco, details and studies.

Same; detail. Christ the Judge. Photo-engr. (In The divine comedy, translated by H. F. Cary. Edited by L. O. Kuhns. 1897. opp. p. 402.) Same; detail. Photo-engr. (In Reber, F. von, and Bayersdorfer, A., editors. Klassischer Bilderschatz. Bd. vi. München, 1894. Nr. 780.) Same; detail. Photogravure. Walter L. Colls ph. sc. (In Symonds, J. A. The life of Michelangelo Buonarroti. London, 1893. Vol ii, opp. p. 48.)

Michelangelo reverted to Dante for the symbolism chosen to portray hell. Charon, the demon, with eyes of burning coal, compels a crowd of spirits in his ferryboat. They land and are received by devils, who drag them before Minos, judge of the infernal regions. He towers at the extreme right end of the fresco, indicating that the nether regions yawn infinitely deep, beyond our ken; just as the angels above Christ suggest a region of light and glory, extending upward through illimitable space. The scene of judgment on which attention is concentrated forms but an episode in the universal sempiternal scheme of things."-Symonds, op. cit., p. 63.

Firenze.

Battisteria. The Last Judgment. Detail. Phototype. [From the mosaic work in the ceiling.] (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 7.)

Giotto, Ambrogiotto DI BONDONE, called. The Last Judgment. Photo-engr. [From fresco in the church of the Madonna dell' Arena, Padua.] (In Thode, H. Giotto. Bielefeld, etc., 1899. p. 117.) Same; detail. The Blessed. Photo-engr. (In same. p. 118.)

Same; detail. Hell. Phototype. (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 6.)

"If we examine the work itself, we shall find the same things as in the case of the Florentine frescoes. The groups of angels, apostles, and the blessed, as Giotto here gives them, are found already in the oldest representations of Paradise, and even for the Hell the inspiration need not have come from the Divina commedia. Fire and serpents formed, long before Dante, the essential elements of the tortures of hell in the imagination of the Italian people, and even the characteristic figure of Satan, who devours the sinners, is of remoter origin. A comparative glance at the mosaics of the cupola in the Baptistery of Florence (Bassermann, plate 7) which date from the thirteenth century, shows this plainly enough. Then, too, the damned, who are being tortured or mutilated by serpents, offer but the remotest connections with the Divina commedia, connections arising rather from the nature of the subject. An essential difference between the Inferno of Giotto and that of Dante consists in this, that in the conception of Giotto the Inferno is altogether a river of fire, which rises on the left-hand of the Supreme Judge, a conception which is traceable to the o'der Byzantine models." - Translated from Volkmann, Iconografia dantesca, 1897, p. 9. See also Kraus, pp. 644-646.

Mantegna, Andrea. Adoration of the Magi. Phototype. [From triptych in the Uffizi gallery, Florence.] (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 45)

Orcagna, Andrea. Paradiso. Phototype. [From fresco in the Strozzi chapel in the church of Santa Maria Novella, Florence] (In La divina commedia, illustrata a cura di C. Ricci. 1898. opp. p. 490.)

"In the same church [of Santa Maria Novella]," says Vasari, "the chapel of the Strozzi, which is near to the door of the sacristy and belfry, was also decorated in fresco by Andrea in company with his brother Bernardo. On one of the walls of this chapel, to which you ascend by a staircase of stone, the glory of Paradise was depicted with all the Saints, who are robed in the various vestments and head-dresses of that age; on the opposite wall was a representation of the Inferno, with its abysmal dungeons, circles of fire, and other features described by Dante, a poet whom Andrea studied most carefully." See also Ferrazzi, ii, pp 334-336.

Same. Photo-engr. (In

Kraus, F. X.

1897. Folded

Dante, sein Leben und sein Werk.

plate. opp. p. 648.)

Here attributed to Andrea Orcagna.

Same. Photo-engr. (In La divina comedia, con commenti secondo la scolastica del p. G. Berthier. Vol. i. 1892-[97]. p. 55)

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

Folded plate, opp. p. 122)

Same. Engr. [Tubino dis. Finden inc.] (In L'inferno, disposto da G. G. Warren, Lord Vernon. 1858-65. Vol. iii, plate 14.)

Same. Photo-engr. (In Vising, J. Hvad vi beundra i Dantes Komedi. 1895.)

From the preceding plate.

"The Strozzi Chapel in Santa Maria Novella was painted by the Orcagna brothers; to the younger, Andrea († 1368), is due the Last Judgment and the Paradiso, to the older, Bernardo (commonly called Nardo, † 1365) is due the Hell. Now, the latter is painted so true to Dante, even to all the details, that the potent fresco can properly be counted among the illustrations to the Commedia. By means of stone walls the whole is divided into various circles and sections, and even the scenes of the poem are brought out in order. So popular in its conception was Dante's Hell that the painter did not need to hesitate to put Minos, Cerberus, the Furies, Charon, the Centaurs, the Harpies and the Giants in a painting which should serve as an ornament to a Christian church. He omitted, however, the figures of Dante and Virgil themselves, owing to the purpose of the painting, yet to-day the picture in this place interests us particularly. But, it was no happy idea from an artistic standpoint, to give such a survey of the dantesque Inferno in the form of a large wall-painting. In the first place no unified composition whatever could be obtained by such means; from the large and beautiful expanse of wall surface it became rather a confused mass of details. Then, moreover, the scenes are themselves so smail as to exclude the monumental effect. While it fails as a whole, the picture is nevertheless of the greatest interest on account of its subject. There are the same types, in every respect, which we meet in the illuminated manuscripts, only that there they are separated, while here they appear massed together.

"If the Hell in Santa Maria Novella was painted by Nardo altogether according to Dante's description, so it is clear also that Andrea Orcagua in painting the Last Judgment and the Paradiso must have had Dante in mind. Dante's portrait is in fact introduced among the blessed; but the Paradiso is conceived, however, in the traditional manner. Christ and the Madonna are on the Throne, on both sides are the blessed and the angels, while below is the host of the elect. Dante's Paradiso was not nearly so popular as his Inferno, and that the traditional conception of the heavenly glory was much better suited to such a representation than were the thoughtful single scenes of the poet, this magnificent painting c'early shows." Translated from Volkmann, Iconografia dantesca, 1897, pp.

Orgagna, affresco che trovasi nel Campo Santo pisano, in relazione coll' inferno di Dante. 1891.)

"Nothing in the execution recalls the paintings of the Orcagna in the Strozzi chapel at Florence, and it is evident the Pisan pictures are by a totally different person. Neither he nor his numerous assistants were Florentines. His figures vary in type, in form, and expression from those of the Florentine school."- Crowe and Cavalcaselle, i, p. 449.

—2—

Same. Phototype. Alinari. (In La divina commedia, illustrata a cura di C. Ricci. 1898. opp. p. 18.) - Same. [With the adjoining fresco of the "Last Judgment."] Phototype. (In Trenta, G. L'inferno e gli altri affreschi del Camposanto di Pisa attributi agli Orcagna, etc. 1894. Frontisp.) Same. Phototype. (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 3.)

Same. Engr. G. Rossi] dis. L[asinio] figlio inc. (In Rossi, Giuseppe, and G. P. Lasinio. Pitture a fresco del Camposanto di Pisa. Firenze, 1832. Plate 15.)

Same. Outline engr. G. Scharf [dis.]. Thompson [inc.]. (In Crowe, J. A., and Cavalcaselle, G. B. A new history of painting in Italy. Vol. i. London, 1864. opp. p. 447.)

For description see pp. 450-454 of the above.

Ernest Renan, in his "Averroes e l'averroisme," 2e éd., 1861, p. 302, speaking of these paintings in the Campo Santo of Pisa, says: Cette singulière composition fut gravée dans les premiers temps de l'imprimerie, et servit peut-être de frontispièce aux plus anciennes éditions de la Divine comédie, avec l'inscription suivante: Questo è l'inferno del Campo Santo di Fisa.' No such reproduction is found in any early edition of the Divina commedia. An old copper-plate, with the above inscription, is reproduced in A. da Morrona, "Pisa illustrata nelle arti del disegno," 2a ed., 1812, tom. ii, at end. This gives the outline of the fresco before its restoration by Sollazzino in 1530 and shows how far the latter departed from the original.

Antonio Bettini, in the third treatise of his "Libro del monte sancto di Dio," treats of the punishments of hell. The work was first printed at Florence in 1477 by that same Nicholas of Breslau who printed the Divina commedia in 1481. Bettini's work was illustrated by three engravings from designs by Botticelli. (See reproductions in G. W. Reid, "Works of the Italian engravers of the fifteenth century," 1884.) It is interesting to note how closely the third design, a picture of hell, follows the Campo Santo fresco. Similar in plan, also, is the illustration of hell reproduced from the 1508 edition of Frezzi's "Quadriregio," in Weise and Pèrcopo's "Geschichte der italienischen Litteratur." 1899, p. 172.

Concerning the fresco see Troya's "Del Veltro allegorico de' ghibellini," 1856, pp. 104-110, and on this class of paintings in general see Köppen, "Der Teufel und die Hölle in der darstellenden Kunst von den Anfängen bis zum Zeitalter Dante's und Giotto's," 1895

An outline engr. of the plan of the universe from a painting in the Campo Santo forms the frontispiece to Pollock's translation of the Divine comedy, 1854.

Signorelli, Luca. Antichrist. Photo. [From fresco in the chapel of S. Brizio in the cathedral of Orvieto.] Luigi Armoni, Orvieto. 93% X 73⁄4 in.

In Dante photograph album, where are also two detail photos of the lower right hand section of the fresco. One figure in this portion of the painting resembles Dante in his profile, and may be intended to represent him.

Same. Photo-engr. (In Reber, F. von, and Bayersdorfer, A., editors. Klassischer Bilderschatz. Bd. ix. 1897. Nr. 1166.)

"In the first lunette to the left of the entrance, Antichrist falls, head downwards, from heaven, pursued by the archangel, sword in hand. An innumerable crowd peoples the world below. The heavenly wrath confounds a mass of mortals in every sort of action, on foot, on horseback. They are hurled to the ground or fall on their backs, faces, sides, in such variety of attitude as one can scarcely imagine. On the foreground to the left, stand Luca Signorelli with Angelico, according to tradition, by his side; they look on whilst Antichrist on a pedestal, mspired by the devil, preaches to a multitude who listen, commune, or distribute to each other the wealth which is the reward offered with full hands by the tempter. In front of a splendid temple, Occupying the right distance, episodes too numerous for descrip tion are depicted."- Crowe and Cavalcaselle, op. cit. vol. iii, p. 18.

The following reproductions are from frescoes in this same chapel of S. Bri.io.

That the miniatures in the latter part of this ms. are but colored copies of the wdcts. in the 1491 ed. of the Commedia, printed by Bernardino Benali and Matthio da Parma, is shown by the reproduction of its illustrations to Par. ii in Bassermann, plate 54, and to Par. vi in Volkmann, plate 8, where they are given side by side with the corresponding wdcts. from the Venetian book.

Plut. 40, no. 12. First page of the Par. (i. 1-24) in Bassermann, plate 12, and in Federn's "Dante," 1899, p. 133.

Plut. 40, no. 13. First page of the Inf. (i. 1–27) with ornamentations and miniature portrait of Dante, in Morpurgo "I codici riccardiani della Divina commedia," 1893.

Strozziano 152. Two miniatures to Purg. i on a plate illustrating Bassermann's review of Volkmann (Literaturblatt für germanische und romanische Philologie, Okt. 1898).

Tempiano 1. First page of the Par. (i. 1-43), with miniature and ornaments, in Kraus, p. 565. The miniature alone is given in Volkmann, plate 4.

Kraus, p. 560, reproduces Inf. i. 1-9, with an ornate border, from a Laurentian ms. of which he fails to give the shelf number.

One page from the fragmentary ms. of the Vita nuova, discovered by L. S. Olschki and by him presented to the Laurentian, is reproduced in P. Papa's article "Un codice frammentario della Vita nova," 1898, and in Passerini's edition of the fragment, 1899. See Supplement (Minor works. — Vita nuova).

Biblioteca Nazionale Centrale.

Palatina 313 (codice Poggiali). Miniature to Inf. x in Kraus, p. 572.

Three initials are given from a ms. of 1400-05 in Wiese and Percopo, pp. 74, 89, 112.

Biblioteca Magliabecchiana.

C. 3. no. 1266 dei Conventi. Inf. xviii. 85-96, with miniature, in Bassermann, plate 17.

Cod. 11. 1. 29. Initial "P," with miniature, in Kraus, p 569.

No. 238, B. A. 5. P. 1, no. 15. Par. xvi. 88-99, with miniature, in Prompt, Les œuvres latines apocryphes du Dante," 1893, plate 3.

Palch. I. 29. Inf. ii. 1-9, 76-83; Par. iv. 1-12, with miniatures, in Bassermann, plates 33-34.

Palch. I. 47 (Strozziano 1424). The opening lines to the Inf. in Lord Vernon's ed. of the anonymous "Chiose sopra Dante," 1846, opp. p. 14.

Biblioteca Riccardiana.

No. 1005. Text of Inf. xviii. 1-21; xxvii. 1-14; xxviii. 125-xxix. 2; xxxii. 111-xxxiii. 3; Purg. vii. 1-14; xix. 140-xx. 25; xxxii. 144-xxxiii 3, with comment and illuminated initials, in Bassermann, plates 26-32. The plate for xxvii. 1-14 has been reproduced, with some curtailment and the omission of the no. of the ms., in Wiese and Pèrcopo, p. 99. No. 1007. An ornamental border from this ms. in Kraus, p. 561, and a miniature of the mount of purgatory, p. 663.

No. 1012. Par. iii. 124-iv. 27, in Morpurgo, "I codici riccardiani della Divina commedia," 1893.

No. 1028. A portion of the first page of the Inf. is reproduced in an engr. in Lord Vernon's ed of the anonymous "Chiose sopra Dante," 1846, opp. p. 14. A miniature from the Par. in Kraus, p. 570.

No. 32. This fragmentary ms. originally formed part of that in the Bibliothèque Nationale, Paris, ms. ital. 2017. It contains thirteen miniatures, ten of which were reproduced in lithographed outline drawings in the 1838 ed. of the Inferno, with the comment of Guiniforto delli Bargigi. See Part I (D. C.). Phototypes of the entire series, including those of the Paris ms., were edited by C. Morel under the title "Une illustration de l'Enfer de Dante; miniatures du 15° siècle," 1896. See Part II.

LONDON.

British Museum.

Ms. 19, 587. Illustration to the Purg. in Birch and Jenner, "Early drawings and illuminations in the British Museum,” London, 1879, plate [iv], with description pp. xi-xiii. The illustration is reproduced in Kraus, p. 592, and on a plate illustrating Bassermann's review of Volkmann (Literaturblatt für germanische und romanische Philologie, Okt. 1898). Also in Zeitschrift für bildende Kunst, Feb. 1899, N. F., Bd. x, p. 115.

An illustration to Inf. xxxi from a 14th cent. ms. (press no. not given) is reproduced in Botticelli's Drawings for Dante's Divina commedia," 1896, p. 21.

MILAN.

Biblioteca Nazionale Braidense.

The first pages of the Inf. and Par. from a ms., believed to have been written by Francesco di Ser Nardo Barberino, are reproduced in the album accompanying Carta's catalogue of "Codici corali e libri a stampa miniati," issued by this library, 1891, plates 5 and 6. The first page of the Inf. contains in its ornate border the arms of the Alighieri family. A photo-engr. of it illustrates also the anonymous article "Codice dantesco della Braidense e lo stemma di Dante," 1891, which sec.

Biblioteca Trivulziana.

No. 1080. Inf. i, 1-57, Purg. i, 1-54, Par. i, 1-35, in Bassermann, plates 9-11.

Since the main part of this Catalogue was printed there has been added to the Fiske Collection a complete photographic reproduction of the Trivulzian codex of the De vulgari eloquentia. It consists of 27 photos. 4, the size of the original, in a separate portfolio, (1014 A 56); it is described by P. Toynbee in the Atheneum, April 28, 1900, p. 530. One page of the ms. had already been reproduced in Rajna's critical ed. of the De vulg eloq., 1896.

Ms. ital. 72. Three miniatures, one apiece for the Inf., Purg., and Par., are in Volkmann, plates 3-4.

Ms. ital. 74. ture to Inf. i, in

First page of the ms., and minia-
Kraus, pp. 587, 562.

A picture of hell, resembling that by Bernardo Orcagna in the Strozzi Chapel, in S. Maria Novella at Florence, is reproduced from this ms. in Volkmann, plate 2, and Kraus, p. 585.

Ms. ital. 2017. The entire series of 58 illustrations from this ms., together with 13 from the Imolese fragment which originally belonged to it, have been edited by C. Morel under the title "Une illustration de l'Enfer de Dante; miniatures du 15° siècle," 1896. See Part II.

Two of the miniatures (Inf. i, xii) had already been reproduced in Auvray, Les manuscrits de Dante des bibliothèques de France," 1892; - three (Inf. xxv) are in the album accompanying "Les plus anciennes traductions de la Divine comédie, publiées par C. Morel," 1897, '95;-three (Inf. xxii, xxv. 79-120, 121–135) in Kraus, pp. 589–591.

Nouv. acq. franç. 4119. Six miniatures to Par. xv-xx are in the album accompanying "Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel," 1897, 95. The one to Par. xvii is reproduced in Volkmann, plate 9, and in Federn's " Dante," 1899, p. 159.

Nouv. acq. franç. 4530. Seven miniatures to Par. i-vii are in the album accompanying "Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel," 1897, '95.

Biblioteca Vaticana.

No. 4776. First page of the Purg. (i. 1-12) and six miniatures to Inf. iv, vi, vii, xxvi. 137, xxx. 1, 16, in Bassermann, plates 35-38.

Urbinati 365. Title-page given in Kraus, p. 573. First page of the Inf. (i. 1-9) and eleven miniatures to Inf. v, xviii, xxv, xxxiv, Purg. i, ii, xxxiii, Par. x, xi, xiii, in Bassermann, plates 35, 42, 46-50.

Eight miniatures to Inf. xviii, xxxiv, Purg. i, x, xxxiii, in Federn's "Dante," 1899, pp. 33, 51, 53, 56, 58, 76, 77, 129.

Wiese and Percopo reproduce in a colored plate, opp. p. 90, the miniature to Inf. iii, but fail to mention that it is from this particular ms.

The miniatures to Inf. i, iii, v, xxxiii, are engraved in Seroux d'Agincourt, "Histoire de l'art," 1823, pl. lxxvii. (The no. 3569 by which S. d'A. indicates the ms. is apparently its old shelf mark.)

Miniatures to Inf. v, Purg. x (two), xxix, xxxi, in Kraus, pp. 575-579;-to Inf. v. in Zeitschrift für bildende Kunst, Feb. 1899 N. F., Bd. x, p. 118;to Inf. vi in Volkmann, plate 5;-to Inf. xii, in Volkmann, frontisp., and Wiese and Percopo, plate opp. p. 93 (both in colors); -to l'urg. x in Wiese and Percopo, p. 103.

The miniatures to the Paradiso are commonly attributed to Giulio Clovio; they were published separately under his name by G. Cozza-Luzi in 1894. (See Part II.) Volkmann claims them as the work of Cesare Pollini, and gives, plate 11, the miniature to Par. xxxii under the latter's name.

A colored engr. of the miniature to Par. iii is given in Madden's translation of Silvestre's “Universal palæography," London, 1849-50, plate 162, (described in vol. ií, pp. 445–447) and a wdct. of the same miniature, clipped from P. Lacroix's "Le moyen âge et la renaissance," tom. ii, Paris, 1849, is in the Dante portfolio, ii.

For description of the ms. see Dennistoun, “Memoirs of the Dukes of Urbino," London, 1851, vol. i, p. 423, and Franciosi, “Il Dante vaticano e l'urbinate," 1896.

The seven drawings by Botticelli in the Vatican were reproduced in 1887, edited by F. Strzygowski. Together with the 85 drawings at Berlin, to which series these in the Vatican originally belonged, they were reproduced in 1896 in the volume of Drawings for Dante's Divina commedia," edited by F. Lippmann. See Part II, sub Botticelli.

SARZANA.

Archivio Notarile.

Mounted photos. of six pages of a fragmentary ms. are given in "Frammento di un codice della Divina commedia, che si conserva nell' Archivio notarile di Sarzana, pubblicato per cura di R. Paoletti," 1890. See Part I (D. C.).

TURIN.

Biblioteca dell' Università.

L. III. 17. Miniatures to Inf. i, iii, iv, v, vi, form a fascicle in the album of illustrations accompanying "Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel," 1897, '95. The one for Inf. v is reproduced in Bassermann, plate 55.

Morel gives also, pp. 4-5, facsimiles of Inf. i. 37-66, both in the Italian text and French translation as contained in this ms., and Inf. xxxi. 67-96 in the French, p. 179.