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

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

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

Eighteenth Century.

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

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

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

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

Tofanelli Morghen.

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

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

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

Same. [Proof from unfinished plate. Without lettering. 9% X 12% in. In Dante portfolio, i.

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

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

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

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

Same. Engr. Inciso da L. Schiavonetti sopra quello di R. Morghen, delineato da S. Tofanelli. (In La divina commedia. 1808-09. Vol. i. Frontisp.) Same. Engr. William Henry Worthington. London, pub'd for the proprietor, December, 1821. Sheet 61⁄2 X 10% in. In Dante portfolio, 1.

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

1826.)

Same

par Fourne, Paris. (In Simonde de Sismondi, J. C. L. Histoire des républiques italiennes du moyen âge. Tom. iii. 1840. opp. p. 125.)

A separate copy of this poor engr is in the Dante portfolio, i. Same. Engr. R. Young. (In the Divine comedy: the Inferno, a translation by J. A. Carlyle. London, 1849. Frontisp. Same. 1867.

Same. 1891.)

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

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

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

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

Same. Engr. S. Tofanelli pinx'. E. Scriven sculp. Published June 2, 1806 by James Carpenter, Old Bond Street, [London]. 4 × 6% in. In Dante portfolio, i.

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

In Dante portfolio, i.

In Dante portfolio, 1.

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

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

1829-30. Firenze. 1830. Napoli.

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

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

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

Nineteenth Century.

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

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

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

The plate is used also in the Milan editions of 1829, 1830, 1851. Same. Engr. E. Silvestri inc. (In Cesari, A. Bellezze della Divina commedia. 1845. Vol. i. Frontisp.)

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

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

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

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

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

This and the preceding have clouds for background.

Same. Engr. H. Robinson. (In La commedia. 1842-43. Tom. ii. Frontisp.)

The same plate is used in the 4th ed. of Missirini's "Vita di Dante," 1844. A separate copy of the engr. is in Dante portfolio, i.

The lith. in the Naples 1858 ed. of the Commedia, as also of the Quattro poeti italiani, (Grob dis. Lit. Richter e Ci) is apparently a copy from Robinson's engr. Another lith. is in the Monza 1837 ed.

Same. [Oval; unsigned.] Engr. (In La divina commedia. Parigi, 1844. Frontisp.)

Same. Wdct. C. Kirchmayr. (In Blanc, L. G. Saggio di una interpretazione filologica. 1865. Frontisp.)

Apparently copied from the preceding.

Same. Engr. (In Underdown, Miss E. Stories from Dante, by Norley Chester [pseud.]. 1898. Frontisp.)

A poor engr. (Nani inc.) is in the 1835 Venetian ed. of the Commedia. A very inferior outline wdct. is given in Posocco's "Vita di Dante," 1881.

1845. An engr. in Biagioli's 1845 ed. of the Commedia (G. de Caro inc.) is copied in the 1854, 1856, and 1862 editions of the same, and in Balbo's "Vita di Dante," 1852.

As engraved by Buccinelli it appears in the 1857, 1869 and 1871 Milan editions of the Commedia.

MEDALS AND MEDALLIONS.

Ferrazzi, ii, pp. 409–411, gives a list of medals struck off in Dante's honor.

(1) A Florentine medal of the fifteenth century is engraved, with three others, from specimens in the possession of Count G. M. Mazzuchelli, on a plate preceding Zatta's preface to his edition of Dante's works, 1757-58. The same plate is used in the 1823 ed. of Pelli's "Memorie." More accurate engrs. of both sides are given on the title-pages of the three vols. of Lombardi's edition of the Commedia, 1791, and of the portrait side (G. Petrini scu.) on the title-pages of the three vols. of Poggioli's ed. of 1806. Phototypes of both sides, from a specimen in Berlin, are given in the German translation of Kopisch, 1882, -same, 1887, (with a note on it, p. 648). Photoengrs. of both sides ornament the covers of the separate nos. of the "Codice diplomatico dantesco," 1895-98. Of the portrait side there is a careful etching in Reynard's French translation of the Commedia, 1887, and wdcts. on the title-pages of recent numbers of the Giornale dantesco, and of the numerous reprints from this journal. A wdct. also illustrates the anon. article on Dante in the "Distinguished men of modern times," 1838, p. 14.

In the Dante portfolio, iii, is a souvenir postal card, published by L. Franceschini e C., Firenze, 1900, containing a photo-engr. of the portrait side surrounded by an ornamental frame.

A plaster copy of the portrait side, made by G. Eichler, Berlin, is in the cabinet of medallions, President White Library.

An engr. (loan. Lapi inv. et scul. Libur. 1777) in the 1778 ed. of the Commedia contains a medallion (apparently copied from this early one) supported on a pedestal by a Muse. A special impression of this on large-paper is in the Dante portfolio, i.

(2) Medal by Antonio Fabris in commemoration of the unveiling of the monument erected to Dante's memory in the church of Santa Croce, Florence, 1829. Engrs. of both sides (Ferd. Moutier del. P. Lasinio sc.) are given in Missirini's "Delle memorie di Dante in Firenze," 1830,- same, 2a ed., 1830, and in the 1835 ed. of the Canzoniere, translated by C. Lyell. A separate copy of this plate is in the Dante portfolio, i. The portrait side is copied (reversed)

in the unsigned engr. used in the 1830 and 1837 editions of the Commedia with Venturi's comment, although not represented there as being from a medal.

(3) Medal by F. Broggi issued by the Società di Minerva of Triest in honor of the Sixth Centenary, 1865. Mounted photo., reproducing both sides, is on the title-page of the "Componimenti di prosa e poesia relativi a Dante," published by the Society in 1866.

(4) Medal commemorating the unveiling of the monument to Dante at Trent, Oct. 11, 1896. Photoengr. in " Trentino a Dante Alighieri," 1896, opp. p. 96, reproduces both sides of the medal. The obverse contains Zocchi's detail representation of the meeting of Dante and Sordello as modelled for the statue.

The medal reproduced in Kraus, "Dante, sein Leben und sein Werk," 1897, p. 322, figures also on the title-page of the "Codice diplomatico dantesco," estratto dai fasc 2-4, (1897],on the covers of the separate fascicles and prospectuses of Ricci's illustrated ed. of the Commedia, 1898,- and in the illustrations to Dante by Stradanus, 1892, p. [16].

An engraved medallion (G. Benaglia dis. ed. inc.) forms the frontisp. to the 1804-05 ed. of the Divina commedia. Another of the same style (A. E. Lapi f.) is in the Dante portfolio, i.

A lithograph of a medal in the possession of the Società Veneta Filodramatica in Venezia, with a profile of Dante, is in the Society's Festa del sesto centenario della nascita di Dante."

The medallion vignette on the title pages of vol. i-iii of the 1817-19 ed. of the Commedia is closely copied in the frontisp. to vol i of Campi's ed., 1888-93. Another medallion," procédé de A. Collas," illustrates Mariscotti's "Dante Alighieri," 1860.

Small medallions are engraved on the title-pages of the 1784 ed. of the Commedia, and the 1829 ed. of the Vita nuova. Another on p. 1 of Magalotti's “Comento sui primi cinque canti dell' Inferno," 1819

A large wdct. medallion (81⁄21⁄2 in. in diameter) with heavy lines, in Dante portfolio, i, was used for pasting on the windows of the Florentine houses during the celebration of 1865.

Hanging in the Cornell Dante alcove are four plaster medallions from unknown originals.

On the medal by Francesco Stiore, see reference in Part II.

SPURIOUS PORTRAITS of Dante.

(1) Bas-relief found in Ravenna. An old marble discovered by Ferrucci and by him considered as a portrait of Dante made directly from the deathmask. Now in S. Pietro in Vincoli in Rome.

Wdcts. of it illustrate Ferrucci's "Carmen seculare," 1865, "Ritratto di Dante Alighieri," 1865, and “· Scala di vita," 1852. Reproduced by photo-engrs. in kicci's "L'ultimo rifugio di Dante," 1891, p. 286, and Kraus, “Dante, sein Leben und sein Werk," 1897, p. 189

Ferrucci claimed that the portrait was copied by Alessandro del Bronzino in his painting of Jesus disputing with the Doctors, in the chapel of the Montauti in the church of SS. Nunziata, Ravenna. See Giornale del centenario, no. 36, p. 291.

"In Wirklichkeit ist es nichts als eine stümperhafte Frazze : ein Altweiberkopf, der eine entfernte Aehnlichkeit mit dem Typus der Todtenmaske hat.” — Kraus, Dante, sein Leben und sein Werk, 1897, p. 188. See also Paur, p. 280.

(2) Two heads, from the fresco of the crucifixion in the church of San Fermo, Verona. Thought by G. Sauro to represent Dante and Beatrice. Lith. (In Sauro, G. Ritratto di Dante Alighieri scoperto nuovamente in Verona. 1842. Frontisp.)

A small reproduction of this plate is given in Berthier's edition of the Commedia, vol. i, 1892-[97]. p. xv. See note sub Sauro, p. 418 of this Catalogue; also Paur, p. 266. SUPPOSITITIOUS AND IDEALIZED PORTRAITS OF BEATRICE,

(1) Panels formerly in the possession of M. Missirini. Two oil paintings discovered by Missirini and by him claimed as portraits of Dante and Beatrice dating from the fourteenth century. 2 liths. Antonio Marini dis. P'anno 1831. (In Missirini, M. Dell' amore di Dante Alighieri e del ritratto di Beatrice Portinari. 1832. Frontispp.)

A mounted photo. (2 X 3 in.) of the Beatrice is in Dante portfolio, in, and a small photo-engr. of it is given in Berthier's ed. of the Commedia, vol. i, 1892-[97], p. xv.

Same. Beatrice. Lith. Disegnato da Cesare Nocchi e inciso da Vincenzo Stanghi. (In La divina commedia. 1846-48. Vol. i, opp. p. 53 )

Lithographs of both the Dante and Beatrice are reproduced on the reverse of the cover to L Bandellor.i's musical setting of Tanto gentile, and of the Beatrice alone in the 1838 ed. of the Inferno with Bargigi's comment, opp. p. [1].

Engravings of a portrait of Beatrice, somewhat resembling this, are given in Torri's edition of Dante's minor works, 1842-50, vol. iii, (F. Nenci dis., Elvira Rossi inc.) and in Topin's French translation of the Paradiso, 1862, (Elvira Rossi inc.)

(2) Supposed portrait of Beatrice Portinari by Hugo van der Goes. From an altar-piece in S. Maria Nuova, Florence. Photo-engr. (In La divina comedia, con commenti del p. G. Berthier. Vol. i. 1892-[97]. p. xv.)

Champlin and Perkins, Cyclopedia of painters, speak of this as the one authentic picture by Van der Goes, ordered at Bruges by Tommaso Portinari and painted about 1470-75. The paint

ing is a triptych, the middle picture of which represents the Adoration of the Shepherds. On the left wing are the portraits of Folco Portinari (or according to the more plausible identification of others, Tommaso Portinari) and his two sons, with Saints Matthew and Anthony; on the right wing are the portraits of the wife and daughter of the head of the family who is painted on the left wing, together with Saint Margaret and Mary Magdalen.

Photo-engrs. of the two wings of the altar-piece are given in Berthier's Béatrice Portinari," 1893, pp. 43-44, and in his edition of the Commedia, vol. i, 1892-[97], p. xi, and, on a larger scale, in F. von Reber and A. Bayersdorfer's "Klassischer Bilderschatz," Bd. viii, 1896, Nr. 1022, 1027.

(3) From the Paradise by Andrea Orcagna in S. Maria Novella, Florence. Šketch by E. Chambers. Photo-engr. (In Les plus anciennes traductions françaises de la Divine comédie, publiées par C. Morel. 1897. opp. p. 480.)

(4) Miniature portrait of Beatrice Portinari from a ms. in the Biblioteca Riccardiana, Florence. After a copy by C. Ciani. Chromo-lith. (In La vita nuova, con prefazione su Beatrice di A. Gotti. 1890. opp. p. 53.)

Como. Marble group of Dante and Beatrice. Photo. Soule Co., Boston, Mass. 51⁄2 x 8 in. In Dante portfolio, iv. Florence. Cenotaph in the church of S. Croce. Designed by Stefano Ricci, 1829. Photo. Almari. 74 × 91⁄2 in.

Florence. Statue in the piazza of S. Croce, by Enrico Pazzi. 1865. Photo. 74 × 9% in. In Dante photograph album.

Same. Phototype. (In Wegele, F. X. Dante Alighieri's Leben und Werke. 1879. Frontisp.)

A photo-engr. illustrates Zippel's "I monumenti a Dante," 1896.

Wdcts. are in Giornale illustrato, 3-9 giugno, 1865, p. 173, (1018631); — in Emporio pittoresco, 1865, p. 347 ;-in L'ateneo illustrato, 18 genn. 1880, an. xii, no. 3, (Dante scrap-book, ii. pp. 132-133);- in "La scuola educativa di Dante Alighieri,' 1891. See also Part II, sub Pazzi, E.

Florence. Statue in the portico of the Uffizi, by Emilio Demi. 1842. Photo. 7% × 91⁄2 in. In Dante photograph album.

Naples. · Monumental group of St. Francis, Dante, Giotto, and Columbus, by Stanislao lista. 1882. Wdct. (In L'ateneo. 1889. An. xxi, p 9) 1019 2 265

With description, pp. 8-10, by " A. P.” - Same.

Wdct. Borricelli inc. (In Prudenzano, F. Francesco d'Assisi e il suo secolo. 1890. Frontisp.)

With description of the monument, pp. 11–16.

Padua.- Loggia Amulea, with statues of Dante and Giotto by Vincenzo Vela. 1865. Photo. L. Fiorentini. 10 X 71⁄2 in.

In Dante photograph album. The loggia is situated in the Piazza Vittorio Emanuele 11, formerly called the Prato della Valle Of the Dante statue alone, a mounted photo. (9% × 14 in.) is in Dante portfolio, iii, a photo-engr. in Zippel, "I monumenti a Dante," 1896, and a wdct. in Emporio pittoresco, 1865, p. 346, illustrating the anonymous article "Dante e i suoi monumenti.' Ravenna. Tomb of Dante. Views of the exterior and interior. 2 photos. Alinari. 71⁄2 × 93⁄4 in. (* 18a, b).

Copies of two photos. (Ricci, Ravenna), together with two views of the adjoining church of S. Francesco, are in the Dante photograph albuni. Ricci's photos. of the exterior and interior of the tomb, together with a view of the burial-ground of the church of S. Francesco, are reproduced in three photo-engrs. in Federn's "Dante," 1899, pp. 211, 214, 215.

Same. Exterior, interior, and Pietro Lombardi's bas-relief of Dante. 3 engrs. [Kirkup dis. Folo, Lasinio inc.] (In L'inferno, disposto da G. G. Warren, Lord Vernon. 1858-65. Vol. iii. Plates 7-9.)

-2

Engraved ground-plan, front elevations of exterior and interior, with view of the bas-relief by Pietro Lombardi, and the various inscriptions on the tomb, are given in the series of plates by Camillo Morigia, who designed the exterior. See Part II. - Same. Exterior. Phototype. (In Browning, O. Dante, his life and writings. 1891. Frontisp.) Same. Photo-engr. (In The divine comedy, translated by H. F. Cary. Edited by L. O. Kuhns. [1897.] opp p. xiv.)

·Sme. Photoengr. (In Ricci, C. L'ultimo rifugio di Dante. 1890. p. 315.)

An outline engr. of the exterior illustrates Witte's " Ueber Dante," 1831. Another engr. by E. Finden, after a drawing by S. Prout, (London, published 1833, by J. Murray, etc.), is in Dante portfolio, ii.

-3-Same. Interior. Phototype. (In Ricci, C. L'ultimo rifugio di Dante. 1890. opp. p. 256.)

Same. Photo-engr. (In Phillimore, Miss C. M. Dante at Ravenna. 1898. opp. p. 194.)

Wdct. of the interior in Yriarte, "Françoise de Rimini," 1883, p. [61].

An engr. of the interior, before the last restoration of 1780, (G. Lapi sc.) illustrates the anonymous “Lettera di risposta in cui si prova esser Dante il vero autore della Divina commedia," in Magazzino toscano, 1754. tom. i, opp. p. 73. Two different copies of the same view, unsigned, are in Zatta's ed. of Dante's complete works, 1757-58, tom. i, opp. p. xxx, and 1760, tom. i, p. [xviii). It is reproduced in Ricci, "L'ultimo rifugio di Dante," 1890, p. 300, where is also given, p. 293, a facsimile of

An

a seventeenth century engr. of the interior of the tomb. engraved copy of this eighteenth century interior is given, together with a view of the exterior of presumably the same period, in Foscolo's posthumous ed. of the Commedia, 1842-43, tom. iii, and in vol. i of the 1846-48 ed. by Niccolini and others. 4 Same. Bas-relief of Dante, by Pietro Lombardi. Engr. [Kirkup dis. Lasinio inc.] (In L'inferno, disposto da G. G. Warren, Lord Vernon. 1858-65. Vol. iii. Plate 9.)

Same. Wdet. (In the Century. Feb. 1884. Vol. xxvii, p. 580.)

An oval cast from the bas-relief (P. P. Caproni, Boston) is in the north bay on the third floor of the west stack of the Cornell Library. A mounted photo. of a similar cast forms the frontispiece to Branchi's "Del sepolcro di Dante," 1881.

The vignette on the title-page of Machiavelli's edition of the Conimedia, 1826, is from Lombardi's bas-relief.

A photo. (9 X 7 in.) of the wooden casket in which Dante's bones were discovered on May 27, 1865, is in the Dante photograph album; a phototype of the same is in Ricci, L'ultimo rifugio," opp. p. 352. The casket is now in the Biblioteca classense, Ravenna.

A mounted photo. of the bones as they were exhibited in the Braccioforte chapel in Ravenna, June 24, 1865, forms the frontispiece to the third volume of the Jahrbuch der Deutschen Dante-Gesellschaft, 1871. A similar plate is in Ricci, "L'ultimo rifugio," opp. p. 368.

Photo-engrs. of the exterior and interior of the tomb, of the casket in which Dante's bones were found, and of the bones as exhibited in June, 1865, are given in Berthier's edition of the Commedia, vol. i, 1892-[97], pp. xxxi-xxxv.

Wdcts. of the exterior and interior of the tomb, and of the casket in which Dante's bones were found, illustrate the three anonymous articles entered in Part 11, sub Sepolcro (11) di Dante, 1872-89

44

Wdcts. of the exterior and interior illustrate Lear's article Françoise de Rimini," [1883?], and "La scuola educativa di Dante," 1891, which latter also contains a view of the bones of Dante as exhibited in June, 1865.

Same. 3 photo-engrs. (In Marcotti, G. Il Dante di Trento. 1896.)

A small photo-engr. illustrates Zippel's "I monumenti a Dante," 1896, and a full-page wdct. is in the American architect and Building news, 1897, vol lvii, no. 1123, p. xiv.

Photo-engrs. of Zocchi's model form the frontispieces to the "Strenna trentina, letteraria e artistica, per l'anno 1893," (1019 C 200 b), Felicetti's "Dante, poeta cattolico," 1896, and the volume published in commemoration of the unveiling, "Il Trentino a Dante Alighieri," 1896.

Photo-engrs. of the architect's plan of elevation, four pieces of the sculptural detail before put into position, and the medal struck off in commemoration of the unveiling, illustrate Ranzi's article "Il monumento a Dante a Trento," 1896. See also Part II, sub Zocchi, C.

Treviso. Monument on the Ponte Dante. 1865. 2 mounted photos. Giuseppe Ferretto. (In TrevisoAteneo. Solenne tornata nel sesto centenario di Dante. 1865.)

One is a view of the monument on the occasion of its unveiling, taken from the right hand bank of the river; the other is a close view of the medallion of Dante's head, by L. Borro, upon the front of the monument.

A mounted photo. (4 × 3% in.) of the bridge and monument, taken from the left hand bank of the river, is in Dante portfolio, iii.

Verona. - Statue in the Piazza de' Signori della Scala, by Ugo Zannoni. 1865. Mounted photo. Maurizio Lotze. (In Verona, Italy. Inaugurazione del monumento a Dante Allighieri. 1865. Frontisp.) The entire statue, with pedestal.

Three photos. (10%1⁄2 X 8 in.) of the Piazza de' Signori, showing the statue from different points of view, are in the Dante photograph album. A photo-engr. of the Piazza de' Signori is in Federn's "Dante," 1899, p. 180.

-Same. [Without the pedestal.] Lith. (In Albo dantesco veronese. 1865. Frontisp.)

A wdct. illustrates the anonymous article, "Dante e i suoi monumenti," in Emporio pittoresco, 1865, p. 351, and a small photo-engr. is in Zippel's "I monumenti a Dante," 1896. See also Part II, sub Zannoni, E.

Of proposed monuments to Dante, which have never been built, the following plans may be noted:~

Agricola, Filippo. [Front elevation of a monument to Dante] ( Biondi, L. Onori parentali a Dante, nel compiere dell' anno cinquecentesimo dopo la morte di lui. 1821.) Linari, A. Bozzetto per un arco pel giubileo dello scoprimento delle ossa di Dante. 15 maggio 1890. Photo. A. Gu glielmi, Ravenna. 31⁄4 × 51⁄2 in. (In Dante portfolio, iii.) Negrin, A. C. Progetto di monumento a Dante ed ai grandi italiani. 2 plans. (In his Di un monumento a Dante. 1865.)

Anonymous. Beatrice. Engr. Richard del. P. Nocchi inc. [From marble bust.] (In The early life, [translated] by J. Garrow. [1846.] opp. p. 109.)

Anonymous. Dante. Photo-engr. [Profile from bust said to have been placed in the monastery of Fonte Avellana in the sixteenth century.] (In Morici, M. Dante e il monastero di Fonte Avellana. 1898. p. 22.)

Anonymous. Dante. Mounted photo. [From bust founded on the Torrigiani bust.] (In La divina commedia, ricorretta da C. Witte. 1862. Frontisp.) Same. Mounted photo. (In Omaggio a Dante. 1865. Frontisp.)

Anonymous. Dante. Mounted photo. [From marble bust, in the collection of King John of Saxony, at Dresden.] (In Petzholdt, J. Catalogus bibliothecae danteae Dresdensis a Philalethe b. rege Ioanne Saxoniae conditae auctae relictae. 1882. Frontisp.)

Anonymous. Ugolino. Engr. ["Cavato da un bassorilievo in terra cotta appo i sign, conti della Gherardesca."] Giuliano Traballesi del. Carlo Faucei fe. (In Zobi, A. Considerazioni storico-critiche sulla catastrofe di Ugolino Gherardesca. 1840. Frontisp.)

See pp. 29-31 of the above work for a description of the bas-relief, here ascribed to Michelangelo Buonarroti.

"Indessen dürfte die Annahme Milanesi's begründet sein, dass diese Arbeit identisch ist mit der von Vasari als Werk des Pierin da Vinci (1520?-1554?) beschriebenen; von Michelangelo kann jedenfalls nicht Rede sein."— Kraus, pp. 618-619.

Same. Engr. [In outline.] (In Rosini, G. Il conte Ugolino della Gherardesca e i ghibellini di Pisa. 1843. Vol. iii. Frontisp.)