One of the most interesting paintings in the world has been lately discovered at Florence; the portrait of Dante, by his friend Giotto. Vasari mentions that Giotto was employed to paint the walls of the chapel of the Palace of the Podesta at Florence, and that he introduced into his picture a portrait of his contemporary and dear friend, Dante Alighieri, in addition to other renowned citizens of the time. This palace has been turned to the unworthy use of a public prison, and the desecrated chapel was whitewashed, and divided into cells. These have now been demolished, and the whitewash is in process of being removed. Almost at the first the portrait of Dante was discovered: he makes one in a solemn procession, and holds a flower in his hand. Before it vanishes all the preconceived notions of the crabbed severity of his physiognomy, which have originated in portraits taken later in his life. We see here the lover of Beatrice. His lip is proud—for proud, every contemporary asserts that he was—and he himself confesses it in the Purgatorio; but there is sensibility, gentleness and love; the countenance breathes the spirit of the Vita Nuova.[1]
- ↑ The common prints taken from this picture are very unworthy of it; they seem to substitute sensuality for sensibility, in the lines of the countenance. Mr. Kirkup’s drawing, made for Lord Vernon, is excel-
