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," 1897, opp. An outline engr. illustrates Vaccolini's article "Dante di P. 4. Giotto," 1840. Inferior and small wdcts. illustrate articles by Bellomo, Bertolotti, Bruni, Dominicis, and Lavelle.

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

1855. Milano. 1856. Firenze. 1864. Firenze. 1869. Firenze.

1876. Napoli. 1878. Milano.

1885. Milano.

1890. Firenze. 1891. Firenze. 1894. Milano.

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 Bargello portrait for its basis.

Besides the numerous references to the literature on the Bargello portrait given in the INDEX OF SUBJECTS, see Ferrazzi, ii, pp. 329-331, 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. (87)

"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 verrathen durch die Gleichheit der Dimensionen und gewisse identische 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 zusammengesunken, 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. upp. p. 152)

Same. [Without the circular frame-work.] Photo-engr. (In Ricci, C. L'ultimo rifugio di Dante. 1891. p. 278.)

The same cut appears on the cover-title of Vedel's "Dante," 1892, and in Kraus's "Dante," 1897, p. 184.

A photo-engr. of the head alone is given in Laurence Hutton's" Portraits in plaster," 1894, opp. p. 6, and in his “Literary landmarks of Florence," opp. p. 12.

A rather poor 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 x 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. 86% in. (18)

Another copy is in the Dante photograph album.

L'ul

Same. Photo-engr. (In Ricci, C. 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 portfolio, 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. xviii-xix)

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

Same. Drawn, from a cast, by Henry Phillips, 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. Phillibrown sc. 3 X 4 in. In Dante portfolio, i.

(In

Same. Lith. Day & Haghe, lithrs. Lyrical poems of Dante, translated by C. Lyell. 1845. Frontisp.)

A large-paper impression of this plate is in the Dante port. folio, i. 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. (Pirot) of the front view of the mask. surrounded by a wreath, forms the frontisp. to Cesena's French translation 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 (52 × 8% in.) is in the Dante portfolio, i. A very poor wdct. of the front view of the mask is in Pollock's translation of the Divine comedy, 1854, p. 567.

NAPLES BUST.

Bronze bust in the Museo Borbonico of Naples. [Front view.] Photo. Sommer, Naples. 73⁄41⁄4 × 93⁄41⁄4 in. (#4)

A comparison of this face with that of the bust and mask entered above, shows that the two must have had a common origin. The Naples bust dates probably from the sixteenth century.

Same. [Front view.] Photo. [From a plaster copy in the South Kensington Museum, London.] Hollyer. 12 X 101⁄2 in. (5)

A mounted photo. (2 X 38 in.), front view, is in the Dante portfolio, iii A photo-engr. forms the frontisp. to the Polish translation of the Inferno by Porębowicz, 1899. Same. [Front view.] Wdct. tury. Feb. 1884. Vol. xxvii, p. 576.)

(In the Cen

Same. [Side view] Phototype. (In Göttliche Komödie, Uebersetung von A. Kopisch. 1882. Frontisp. Same. 1887.) Same. [Side view.] Phototype. (In Locella, G., editor. Dante in der deutschen Kunst. 1890.)

Same. [Side view.] Photoengr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 188.) Same. [Front and side views.] Photoengrs. (In Federn, K. Dante. 1899. pp. 125, 173.) Same. [From crayon sketch of the head, made for the Art Students' League of Buffalo, by D. V. Wilcox.] Lith. 16 × 16% in. (16)

A photo-engr. of a two-thirds side view, clipped from the New York Tribune, Illustrated supplement, March 6, 1898, is inserted on the first fly-leaf of the Dante scrap-book, ii.

ANDREA ORCAGNA.

Reputed portrait of Dante. Photo-engr. [From drawing by E. Chambers after a figure in the fresco of Paradiso (circa 1354) in the Strozzi chapel in the church of Santa Maria Novella, Florence.] (In Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel. 1897. opp. p. 193)

According to an article by H. C. Barlow in the Athenæum, July 4. 1857, p. 854, this portrait was discovered by himself in 1845. "It is," says Dr. Barlow, "on the upper portion of the wa'l on the left hand side of the window: Dante is there represented as an elderly man, bowed down by grief, and in the act of prayer. Mr. Kirkup confirmed my observations on this figure, and pointed it out to Lord Vernon, who, I believe, had a drawing of it taken for his illustrations of the Divina commedia."

No reproduction of any part of Orcagna's Paradiso was given in the Vernon album.

TOMMASO MASACCIO [?]

Head of Dante. Engr. [From a drawing (circa 1420) in the Munich collection, ascribed to Masaccio.] Gest. v. Jul. Thacter. (In Deutsche DanteGesellschaft. Jahrbuch. Bd. ii. 1869. Frontisp.) With a discussion concerning the portrait, by Ernst Förster, pp. vii-viii.

The same plate is used in Witte's "Dante-Forschungen," Bd. 1, 1879 Photo-engrs. of it are given in Kraus, "Dante, sein Leben und sein Werk," 1897, p. 187, and in Federn's "Dante," 1899, p. 139 (where it is conjecturally ascribed to Ghirlandajo), and wdet. in Scartazzini, "A handbook to Dante, translated by T. Davidson," 1887.

ANDREA DEL CASTAGNO, (1390-1457). Full length figure of Dante. From fresco painted for a hall in the Villa Pandolfini at Legnaia; now in the National Museum at Florence. Photo. Alinari. 7% × 9%1⁄2 in.

In Dante photograph album. At the bottom of the photo. the location of the fresco is given as the Convent of Sant' Apollonia, Florence. In books of about 1860-70 the fresco was referred to as being in the Uffizi.

Same. Photo-engr. (In Federn, K. Dante. 1899. p. 165)

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.

Castagno effigid Dante quale lo vedeva nella sua fantasia { niente conservando delle note fattezze del poeta, che ranimen tano quelle della razza etrusca, e si riscontrano in grandissima parte degli illustri fiorentini di quel tempo, e degli anni più antichi e dei posteriori; laonde questa immagine non può aversi in conto veruno." - Milanesi and Passerini, Primo rapporto.

BENOZZO GOZZOLI.

Portraits of Petrarch, Dante and Giotto. Photo engr. [From fresco of 1452 in the monastery of S. Francesco at Montefalco.] (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 191.) The fresco depicts scenes from the life of St. Francis. The portraits fill medallions in a frieze running around the base. Below the Dante is inscribed: "Theologus Dantes nulline dogmatis expers."

"These portraits were all repainted by the so-called restorer Caratoli in 1858; as indeed are all the frescoes more or less. Crowe and Cavalcaselle, Painting in Italy, vol. ii, p. 501. Same. Photo-engr. (In Thode, Henry, Giotto. Bielefeld, etc., 1899. p. 45.) From a photo. by Alinari. Same. Dante. Photo-engr. (In Codice diplomatico dantesco. 1898. Disp. iv, p. 1.) DOMENICO DI FRANCESCO, called MICHELINO. Dante and his poem. Allegorical fresco in the Cathedral of Florence, commissioned in 1465 on the occasion of the two hundredth anniversary of Dante's birth. Photo. Alinari. 14% × 111⁄2 in. (9)

The above is a carbon print. A silver print copy of the same photo. (14 X 11 in.) is in the Dante portfolio, i.

The fresco is near the door in the north ais'e of the cathedral. Crowe and Cavalcaselle, Painting in Italy, ii, p. 519, speak it as being after "a design by Baldovinetti.' It was for a long time at ributed to Orcagna. It replaced an older painting in the cathedral placed there at the instigation of a certain Fra An tonio Neri, who was lecturing on Dante in the cathedral in 147. (See note sub Antonio, p. 107 of this Catalogue). See 11 Balzo, ui, pp. 430-431, iv, pp. 84-87; Ferrazzi, ii, pp. 340–341. 395-396, and Paur, p. 274.

The inscription under Michelino's fresco, beginning wi coelum cecinit mediumque imumque tribunal, has been vari ously attributed to Politian, Coluccio Salutato, and Bartolommer. Scala; (see entry under the latter on p. 419 of this Catalogue)

Same. Phototype. (In Bassermann, A. Dantes Spuren in Italien. 1897. Plate 2.)

Same. Phototype. (In La divina comme dia, illustrata a cura di C. Ricci. 1898. opp. p 256.) Phototypes of the central portion of the painting, embracing the Mount of Purgatory and the figure of Dante, form frontre pieces to Mrs Gurney's "Dante's Pilgrim's progress." 18,24 and to the first fascicle of the Purgatorio, 1897, in Berthier's ed of the Commedia.

Sime. Photo-engr. (In La divina comedia, con commenti secondo la scolastica del p. G. Ber thier. 1892-[97]. Vol. i, p. 31.)

Same. Photo-engr. (In Zippel, G. I monu menti a Dante. 1896. p. 9.)

Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 179.)

Same. Photo-engr. (In Con Dante e per Dante. 1898. opp. p. 179.) The date of the fresco is incorrectly given on the plate as 1455

Same. Photo-engr. (In Zeitschrift für bildende Kunst. Feb. 1899. N. F., Bd. x, p. 116.) Same. Photo-engr. (In Federn, K. Dante 1899. p. 171.)

Same. Photo-engr. (In Gigas, E. Italien

[1899?] p. 26.)

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 col monumenti," 2a ed., Pisa, 1850, opp. p 95.

Same. [Outline.] Phototype from engr. (In Villari, P. The two first centuries of Florentine history. 1895. Vol. [ii], p. 158.)

Same. [Outline.] Wact. (In The divine comedy, rendered into English by F. Pollock. 1854. p. xi.)

-2

- [Old colored copper-plate in the Laurentian Library. Engraved, with considerable freedom, from the preceding.] Photo-engr. (In Biagi, Guido. The private life of the Renaissance Florentines. 1896. opp. p. 24.)

Same. Photo-engr. (In Kraus, F. X. Dante, sein Leben und sein Werk. 1897. p. 181.)

LUCA SIGNORELLI.

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. 74 × 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. 71⁄2 X to in.

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

Same. Dante. Photo-engr. (In his Illus trationen 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. 64 × 61⁄2 in. (811) 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 × 7% in.

In Dante portfolio, iv, where is also a photo. (Alinari) 94 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. Anto. Mannelli inc. (In Pistolesi, E. I 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. Ismie 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 X 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. Wdet. 44 × 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}, Rosmäsler 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

- 3-Il Parnaso. Photo. [From fresco in the Vatican, painted in 1511.] Alinari. 93⁄4× 71⁄21⁄2 in. In Dante portfolio, iv.

Same Photo-engr. (In Reber, F. von, and Bayersdorfer, A., editors." Klassischer Bilderschatz. Bd iv. München, 1892. Nr. 560.)

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

Same. Engr. Stef. 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, F. 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

(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.] Photo engr. (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 disegnd, 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 Mano. scritti 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." - Mi'anesi 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 × 21⁄2 in. (~10), 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.

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.

With the exception that Dante's right arm is not extended, the 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 wdt. 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 ap pears 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% × 8 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% × 3 in.), inscribed: