Nuovi nonni per nuovi nipoti: La gioia di un incontro (Oscar saggi Vol. 863) (Italian Edition)

He is always afraid; he is continually relating his fears. He clutches hold of Virgil in frantic terror, he hides himself behind his shoulders. We must not forget that the Divina Commedia is all fiction, and that probably Dante's assumed cowardice is merely an artist's device to intensify the horror of what he describes.

Two curious pictures he gives us of the barbarous punishments of his times. The one, where he minutely describes the custom then prevalent of binding a robber to a stake, and afterwards planting him head downwards in a hole dug for the purpose; and how the friar bent down to hear the confession of the inverted malefactor, before the moment when the hole would be filled up and the victim choked.

The other picture is when Virgil, in obedience to the call of the Angel, urges Dante to walk through the zone of fire which alone separates him from the stairway to the Earthly Paradise where he is to meet Beatrice. All Dante's horror-struck feelings are aroused to the highest degree, and his highly-wrought imagination recalls the ghastly and sickening details he has witnessed of criminals being burned at the stake; nor must we forget that his mind would have.

It is a beautiful and touching incident of his life, that when he had already attained to the first rank as a man of letters; when his learning and science had earned for him a world-wide reputation, he could yet, in those lines of infinite pathos and beauty Par. In comparison with the joy of being re-admitted into his native city-but readmitted without dishonour-all earthly distinctions in his eyes were valueless.

He had apparently travelled in foreign countries, without however contracting any love for foreign nations, i. His world is Italy-his State is Tuscany-his city is Florence. Of the many pictures and busts which claim to represent Dante, there are but two which can be regarded as likenesses of genuine authenticity. These are a the death-mask in the Museum of Florence, and b the portrait by Giotto in the Bargello. The former will be found as the frontispiece of my Readings on the Inferno, the latter forms the frontispiece of my Readings on the Purgatorio.

It is with this latter that I am chiefly concerned. The most competent observers have come to the conclusion that the resemblance of the portrait to the cast is unmistakable. Filippo Villani, in his Life of Giotto, says that in a painting on the walls of the chapel of the Bargello, then known as the Palazzo del Podesta, Giotto had introduced portraits of himself and of Dante, but he does not mention the circumstance in his own life of Dante.

The only one of the early biographers who does allude to it is Landino, who, after naming two portraits of Dante, one in Santa Croce, and the other in the Cappella del Podesta, says of the latter "resta ancora. These passages in Villani and Vasari aroused much attention with the revival of Dante studies in Italy at the beginning of the last century, and both Moreni about I8oo, and Missirini in I, made prolonged though ineffectual search for the portraits.

They obtained permission from the authorities to clear the chapel of the Bargello and remove the plaster, and had associated with them-most unfortunately as it turned out-a certain Antonio Marini, an unsuccessful painter of Pisa. For a long time their labours were in vain, for the walls were so thickly covered with plaster that they could only remove it very slowly and carefully.

At last, on the 2ISt July, I, they came upon the painting, and saw Dante's face with all the freshness of youth upon it, and before sorrow and disappointment had marked their indelible traces upon his noble countenance. He is represented as the middle figure in a group of three, while the other two figures seem to bear out the statements of F.

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Dante's dress appears to be the ordinary civil costume of the upper classes, and is similar to his attire in Michelino's portrait of him in the Duomo. His hair is entirely concealed by the cap, so that one cannot verify the tradition of its having been auburn-tinted in his youth. It has been thought that these symbolize the three Kingdoms of Hell, Purgatory and Paradise. As Kirkup secretly made a copy of the portrait of Dante in a small book before it had been irreparably damaged by Marini, it will be interesting to hear his own remarks about it.

These have been very kindly furnished me by Colonel William Gillum, who is the actual possessor of the little book with Kirkup's original coloured copy. He often showed me his copy of the Convivio, with the Bargello portrait of Dante painted on the inside of the parchment cover Both in and during the three years we were in Florence from to i he talked over and over again of the Bargello portrait. Kirkup had made a contract with Marini to clear the chapel in the Bargello then a prison. It-had been divided in two, and used as a pantry for the prisoners.

Kirkup took his little copy of L' Amoroso Convivio Convito and holding it in his hat, made an outline sketch. Iv third visit he coloured it; at a fourth he finished it. Once he got himself locked in while the workmen went to dinner, got on the scaffolding, and made a tracing. From this, and from the coloured drawing in the Convivio, he made the drawing for Lord Vernon, which was reproduced by the Arundel Society.

He drove two large beams into the wall, but this having been forbidden by Kirkup, trestles cavalletti were used. Crowds flocked to the chapel when it was known that the frescoes were discovered. After about six months, Government took the work up which Kirkup had begun, paying Marini 40 scudi. When first the hole which destroyed the eye was seen, Marini said it was a nail. It may have been put in by some prisoner to hang things on. At first it was small, but Kirkup declared that fingers had been put in, with the remark 'v'e un buco.

Kirkup was refused re-admission. Marini wished to make and engrave a copy of the fresco. The vest of the original was green, but authority-troppo gelosa -for political reasons, would not allow the red, white and green the Italian national colours to remain, and ordered Marini to alter the dress into a chocolate colour, as had been done to Michelino's picture in.

The new eye is too small, and too near the nose. The nose of the restoration is too aquiline, and the face altogether different. Giotto's fresco might now be restored by carefully applying a wet cloth and probing carefully. Three pomegranates in Dante's right hand denote the three Kingdoms.

There is a crown on the top of the pomegranate 'pomo coronato'. One day Kirkup told me the pomegranates were there when he made the sketch; but as his object was to draw the face, he did not draw them then, and Marini destroyed them. I obtained from Professor D' Ancona of Pisa a letter of introduction to the Sindaco of Ravenna, the Marquis Rasponi, to whom I wrote offering a proof of the Arundel portrait of Dante for his town, and well deserving it, whilst Florence is so disgracefully indifferent to his memory. The print is really a fine work of art, both for its beauty and its great correctness, for which I can answer.

There is nothing of my own. I refused to restore the eye which Mr. Marini destroyed by pulling out a nail, and I left the hole as I found it at the time as a pledge of the authenticity of the rest. Ivii told me of, or the sarcophagus in his chapel I daresay there are not many alive who saw it in the short time it was visible, before it was so badly repainted by a wretched dauber, who was sent away from Pisa for his incapacity, and obtained this job from the favour of Cavalier Montalvo, who has ruined most of the best works in the Pitti palace and the Uffizi, which were in the most perfect condition.

He also had a hand in destroying all the monuments of Dante in Florence, and the grand font of the Baptisteria [sic] of Pisa; in Florence the portrait by Giotto, and that by Michelino, the house, the Sasso, the Villa, the tomb of Guglielmo Berardi [who fell at the battle of Campaldino], the bust at the Studio, all since I arrived in Florence in Rossetti's coment [sic] is at Vieusseux's Library you say. He dedicated it to me for finding Giotto's fresco.

Is there no chance of recovering that? They have owned they are afraid of O. A little water is all that is wanted, applied with caution and delicacy-it ought not to cost more than 10 dollars. Soon there will be no one alive who ever saw the original. You know from my sketch how different it was in I to the present daub-and the Arundel tracing is a facsimile. What other city could boast such monuments as these few treasures of Dante? The ignorant fools will neither preserve them nor let others do it.

Think if we had such memorials of Shakespeare, what care would be taken to save them! II riproduce fedelmente 1' opera antica, prima che i restauri praticati nel dipinto 1' anno 1' avessero non poco alterata, rifacendo 1' occhio sinistro con parte della guancia, e variando la forma del cappuccio e il colore delle vesti. II cappuccio originalmente era bianco ma soppannato in rosso, rossa la cappa e soppannata in bianco, di sotto alla quale scorgevasi un farsetto di color verde che ora non pii si vede.

Dal che apparisce che il bianco, il rosso e il verde erano i simbolici colori, ne' quali solevasi Dante rappresentare, non altrimenti che la sua Beatrice da lui descritta nel Purgatorio: From this original drawing now at Sudbury Hall, Derbyshire, was made the Arundel reproduction. The photograph, which is the frontispiece of the Album Volume of the Vernon Dante, was taken by Lord Vernon's son, William Warren Vernon, from the original drawing at the beginning of Rimasto cosi lungamente occulto e dimenticato, fu finalmente ricercato e scoverto per opera dei Signori Bezzi e Wilde, nel , dietro gl' indizi loro dati dal Seymour Kirkup sui ricordi lasciatine dal F Villani e dal Vasari.

Immediately after Dante's return from the holy water of Wednesday, Eunoi Purg. Dante, like Beatrice, is able to gaze upon the Sun's rays Dante, awe-struck at the extraordinary increase of sunlight around him, is informed by Beatrice that he is swiftly rising from earth into heaven Dante finds himself in a pale shimmering light 25, He has reached the first planet, the Heaven of the Moon 29, Dante discerns the faces of certain beings before him, but so dimly, that he thinks they are but reflections of real images behind him i6-i8.

Beatrice tells him that they are real spirits of those who have failed to keep holy vows 29, Dante addresses the spirit of his kinswoman, Piccarda de' Donati Piccarda tells Dante who she was And why she and her fellow-spirits have been relegated so low down in heaven But that they are perfectly resigned to the will of God 70 One of her companions is the spirit of the Empress Constance i8. Two doubts are perplexing Dante: Beatrice tells him what they are i6, r7. Her words have emanated from the. Spirit of God, the Fountain of all Truth Dante tells Beatrice of a further doubt II Having removed Dante's further doubt concerning the binding force of vows, Beatrice subsides into silence, and Dante also remains speechless They quit the sphere of the Moon, and ascend into that of Mercury 9I They are accosted by the spirits of those who, in their lifetime, were energetic in the pursuit of honour and glory.

These spirits throng round Dante, as fish do round any food thrown into their pond 00oo The spirit names himself to Dante, speaking of his Imperial dignity as a thing of the past Io. He informs Dante of his work as a legislator And how he became a convert to the Faith I6-I8. And that Bellisarius was his chief general He censures the Ghibellines who claim a right to the Roman Eagle, the symbol of Empire, and the Guelphs who set themselves against it 3I The record of the Eagle entitles it to universal respect 34, The qualifications of the spirits in the sphere of Mercury I Romeo, the great minister of Raymond Berenger, Count of Provence, whose four daughters Rom6o married to Kings Justinian breaks forth into a hymn celebrating the Church both before and after Christ I The spirits of Justinian and his companions fade away Beatrice will clear away certain doubts which are perplexing Dante's mind Dante becomes aware of his transition into the Planet Venus by perceiving the increasing loveliness of Beatrice I He discerns bright spirits that shine as sparks in a flame.

These are the souls of lovers who loved with a pure love The spirit of Charles Martel, of Hungary, approaches He does not name himself, but he tells Dante that, had he lived, he would have let him taste of the fruit of his love, and not only to gaze upon the blossoms and foliage which precede that fruit His younger brother Robert was the niggardly son of a munificent father He blames men in the world who, ignoring the disposition inspired by heavenly influences, continually turn the greatest intellects to mistaken ends II Dante names Charles and " his Clemence" [whom I take to be his wife, daughter of Rudolph of Hapsburg].

He says that the spirit of Charles quitted him and turned back to the All-Sufficing God The spirit of Cunizza da Romano accosts Dante 13, Because during her lifetime she yielded to the influence of love, she is now relegated to the Sphere of Venus 32, She speaks of the spirit nearest to her, Folco of Marseilles After predicting the misfortunes that are to befall her native land, the massacres in Padua, the violent death of Riccardo da Cammino, and the cruel treachery of the Bishop of Feltre, she ceases to speak 64, Dante having asked Folco who he is, that spirit gives a description of the Mediterranean Sea, and tells Dante that he was born on that coast The spirit names himself and avows that in life he followed the influence of the planet Venus Folco names Rahab, and her merits rI5-I Folco says that the Pope's neglect of the Holy Land is due to the avaricious love of the whole priesthood for the accursed flower, meaning the Lily stamped on the florin , and that for this greed religious study has been thrust aside II Dante ascends to the Fourth Sphere of Heaven, the Sun, so instantaneously that he is not aware of it Dante says that in vain would he attempt to describe the splendour of the souls in this Fourth Sphere 4I Dante is encircled by the spirits of the twelve great Theologians He is addressed by St.

Thomas Aquinas, who names his master Albertus Magnus, and himself, as Dominicans After naming the Benedictine monk and legist, Gratian, St. Thomas points out Peter Lombard Io6-Io8. Solomon, so wise, that no one else even equalled him II4. Dionysius, the Areopagite, who wrote about the Celestial Hierarchy 16, After alluding to Orosius, and Boethius, St.

Thomas groups together St. Isidore, the Venerable Bede, and Richard de St. Thomas, a Dominican, sings the praises of St. Providence ordained two Princes, St. Dominic, to be the especial guides of the Church the Bride of Christ, the former of Seraphic fervency, the latter Cherubic in his light of learning The piety of St. Francis in early life Poverty was the Bride of St. Thomas now names for the first time He mentions Bernardo of Quintavalle, Egidio, and Silvestro, who followed Francis in becoming bare-footed friars The foundation of the Order of St.

Thomas tells Dante that when St. Francis retired to Alvernia, he received in his hands and feet the stigmata of Christ, and then died in the bosom of Poverty IO7 -I Dominic, a worthy colleague of St. Francis, and the head of the Order to which he, St. Dominic's flock in Dante's time seek for honours and dignities instead of keeping to their original vow , I The garland of Dominican spirits revolving round Dante is suddenly enclosed by a similar garland of Franciscan spirits One of the Franciscan spirits, St.

Bonaventura, from the outer garland commences to praise St. Calaroga in Spain the birthplace of St. Dominic, the ardent lover of the Christian Faith Dominic sold all he had and gave to the poor, following the counsel of Our Lord Dominic made a fierce onslaught against heresy 98 -IOI. Bonaventura names the twelve spirits of the outer garland, beginning with himself and two obscure but holy friars II3I. Then follow Hugh de St. Thomas Aquinas speaking again, explains to Dante that he is right in thinking the wisdom of Solomon inferior to that of Adam and of Christ.

Solomon speaks of the glorious appearance of the Blessed after the resurrection of the Body Dante finds that he has been transported with Beatrice into the Fifth Sphere 83, They have reached the fiery tinted Sphere of Mars Dante sees the spirits of the saintly warriors who fought for Christ.

These, shining in different degrees, formed the sign of the Cross Ioo-Io2. They flit rapidly along the two lines of the Cross, both perpendicularly and horizontally Iog9-iI. The hymn of praise "Risurgi e vinci" sung by the spirits bind him with fetters of love I The warrior spirits pause in their melody, in order that Dante may speak i.

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Cacciaguida, an ancestor of Dante, darts from one arm of the Cross of the Holy Warriors to the foot of that same Cross The spirit addresses Dante in Latin as his kinsman He tells Dante that, although he can read the wish in Dante's heart, Dante must unfold his desire Dante entreats the spirit to accept his mute expression of thanks, and to reveal his name, addressing him as a living topaz Thy great-grandfather was my son.

He is still enduring penance for Pride in Purgatory. Pray for him " Cacciaguida sketches in outline the simple and peaceful life of Florence in his own days His birth, his baptism in San Giovanni, his kinsmen, and his marriage II He became a Crusader and a knight, was killed by the Saracens, and came to Heaven Cacciaguida's words arouse a feeling in Dante of pride of lineage, quickly suppressed I. Dante asks Cacciaguida who were his ancestors, in what year was he born, what was the population of Florence in his time, and who were its chief citizens Cacciaguida was born in iog9, his ancestors lived in the district of Porta San Piero; the population of Florence was small, but were all of pure descent I.

Some great Florentine families are extinct, and their names forgotten He recalls the peaceable condition of Florence , I In his time a victorious State had never dishonoured the standard of its adversary, nor had the Lily of Florence been changed from white to red II Dante enquires if Cacciaguida can interpret certain predictions made to him in Hell and Purgatory as to his destiny 25, Cacciaguida tells him that he will be driven by calumny from Florence, even as Hippolytus was driven from Athens Dante's future sufferings and humiliations Dante will separate himself from his unworthy fellow-exiles At the Court of Bartolommeo della Scala Dante will meet his brother Can Grande, too young at present to be known Dante shall still be alive when his sinful fellow-citizens, and their punishment, shall be things of the past 97 Cacciaguida charges Dante to speak out the whole truth about his contemporaries II Dante has only been shown the spirits of the great, whether good or bad, and his poem will, like the wind, only attack the highest summits II Dante, passing from the red planet Mars into the Sixth Sphere, the Heaven of Jupiter, perceives that the light has become white instead of red The spirits of those who rightly administered justice on earth form in luminous letters the words Diligitejustitiam qui judicatis terram The letter "M" of this celestial inscription undergoes various changes, and finally its summit shapes itself into the head and neck of an Eagle Dante implores the spirits who form the Eagle, the Emblem of Empire, to entreat God that the Princes of the Earth may not err after the evil example of the Popes I The spirits are transformed into the figure of a complete Eagle with outspread wings i, 2.

Dante entreats them to solve a doubt 25, The doubt is as to whether a virtuous heathen, dying unbaptized and without the Faith, can be with justice condemned 75, The Eagle censures the presumption of those who venture to sit in judgment on the Justice of God If Dante could not understand certain strains of the Eagle, how could he expect to comprehend the Justice of God? Many professing Christians will be found among the reprobate, and many who knew not Christ among the elect Io6-io8. The Eagle unfolds a terrible page of the book of Eternity xI 2- 4.

The Eagle tells Dante that six spirits of surpassing excellence, among the Princes who governed their realms most justly, form the arc of its eye David forms the pupil of the eye Of the five who form the eye-lid, Trajan comes first 44, Next Constantine who wrought evil to the Church by the Donatio Constantini, though with good intentions William II, King of Sicily, whose good reign is regretted by his subjects now under the rule of his unworthy successors 62, Ripheus, the Trojan, a character in Virgil's Eneid, is the fifth of the spirits forming the arc of the Eagle's eye Dante, astonished at finding in heaven two pagans, Ripheus, born before Christ, and Trajan, born after, who had died without believing in Him, learns from the Eagle that they both died Christians in spirit o Beatrice informs Dante that they have reached the Sphere of Saturn, the abode of the contemplative spirits I3.

Dante sees a ladder of pure gold extending further up than the eye can reach, and numberless shining ones ascending and descending The spirit of San Pier Damiano draws near, and Dante asks him why he has approached, and why, in this heaven only, there is a cessation of the sweet melodies heard in the other Spheres Pier Damiano tells him that mortal hearing could not endure the excess of sweetness of their singing, any more than mortal sight could endure Beatrice's smile He has descended the stairway to greet Dante, not because he has greater love than his fellow-spirits, but to fulfil his duty Pier Damiano describes his retreat on Monte Catria, and tells his name I He denounces the luxury of the Cardinals, whose furred cloaks are so long that their steeds are nearly invisible Other spirits flock down the holy stair at Damiano's words, and utter a shout of indignation I40, I4I.

Dante sees a hundred of the contemplative spirits upon the heavenly stair. The most radiant one among them, St. Benedict, addresses him Benedict speaks of himself as the founder of the Benedictine Order of Monte Cassino Other bright spirits of his Order Benedict tells Dante that his request to see his face is inopportune, but shall be granted when he reaches the Empyrean 6i, He upbraids the monks of Dante's time; the Rule of his Order has become mere waste paper 74, Benedict and his fellow-spirits are swept away up the heavenly stair Beatrice, by a mere sign, impels Dante to ascend the Holy Stair.

Dante in Gemini, to whose influence he ascribes his poetic genius 7. Dante can see below him the whole of the inhabited earth, so insignificant, that he compares it to a mere threshing floor I Dante sees Beatrice gazing towards the South, like a bird on its nest watching for the dawn Io-I2. The heavens become more resplendent, and Beatrice proclaims the approach of the Triumph of Christ , 3.

Dante sees thousands of lights, and one Divine Sun giving lustre to them 28, In the fiery light of that Sun he discerns the Essence or Personality lucente sustanzia of Christ, and finds he is in the Presence of God Himself Dante passes over many of the things he saw in Heaven as too ineffable for man to utter 6x Beatrice reproves Dante for contemplating her, and bids him rather gaze upon the garden in which are the Rose the Virgin Mary , and the Lilies the Apostles Beatrice entreats the assembled Saints to shed some dew upon Dante from their Fountain of Knowledge 8, 9.

Peter addresses Beatrice as " Sister I " Peter to examine Dante concerning his Faith Peter's first question is: Peter is satisfied with Dante's answer as to his Faith, but does Dante possess this Faith? Dante obtained his Faith from the rain of the Holy Spirit, poured forth in the Scriptures Dante's belief in inspiration of Scripture, the credibility of miracles, and the crowning miracle of all, the spread of Christianity. Dante answers the final question: Peter, rejoicing at Dante's recitation of his Faith, encircles him three times as though embracing him, and in his holy chant pronounces a blessing I Beatrice indicates him as the Baron for whom pilgrimages are made into Galicia I3-i8.

Beatrice entreats him to examine Dante on Hope James asks Dante what Hope is, and whether he Dante possesses it 46, James that no son of the Church possesses this Hope more soundly than does Dante 52, Dante replies to the questions "What is Hope? James does thy Hope hold out to thee? John, invested with dazzling radiance, comes forward 0o Dante is dazzled by looking at St. John tells him that his body is buried on Earth I Beatrice's glance can revive Dante's sight, as Ananias did that of St.

John that God is the beginning and end of his affection I6-I8. After commending Dante's reply, which included a confession of his Faith, St. John puts another question respecting Love I. Dante replies that all the motives, that could combine to make a man love God, combined in him, and withdrew him from perverted love to the Love of the Chiefest Good The Spirits of the Blessed break forth into a hymn of praise on hearing the successful issue of Dante's examination in the three Theological Virtues Beatrice turns her eyes on Dante, who is at once re-endowed with sight 76, A fourth radiant spirit joins those of the three Apostles.

It is Adam Adam anticipates and answers several questions unuttered by Dante, and adds that he was only in the Garden of Paradise for seven hours after his creation The radiance of St. Peter takes a red tint, and he explains that Dante will see the whole Heaven blush with indignation against the occupiers of his former throne ig9 He sees, throughout the Church, avarice and greed of gain, in all its chief Pastors 55, Peter and his fellow-spirits having been swept away into the Empyrean, Beatrice invites Dante to turn his eyes again down to earth, and to note that in six hours his position has changed a quarter of a sphere I4 5.

Dante is elevated into the Ninth Sphere, or Crystalline Heaven Peter's indignant condemnation of avarice in the world I She attributes this avarice to evil government of Church and Empire , I Dante discerns an infinitesimal point of light of exceeding brilliancy, round which are revolving nine concentric circles of fire. The point is God, the nine circles the nine Angelic Hierarchies i Beatrice explains that the revolving heavens cerchi corporai are larger or smaller according as they have more or less power to influence the Spheres below them And each heaven is united with that Order of Angels which is most fitted to it.

The smallest circles of Angels, being the chiefest, sway the largest and chiefest circles of the heavens; and similarly the largest circles of the Angels sway the smallest circles of the heavens Beatrice prefers the classification of the Celestial Hierarchies ascribed to Dionysius the Areopagite, which corresponds with her own, to that of Gregory the Great I Dionysius was taught by St.

Paul, who had seen these things when he was caught up to the Third Heaven I Beatrice replies to certain questions which she supposes Dante to be tacitly asking.

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Though we are not told where they were created, we are to infer that it was in the Empyrean; nor are we told how, but we are also to infer that it was as beings of perfect goodness. Beatrice recapitulates the where, the when, and the how The rebellious Angels sinned the instant they were created The circulating movements of the heavens are controlled by the Angels who remained faithful to God Beatrice censures the preachers of the time She upbraids their levity and irreverence II5-II7.

The choirs of Angels circling round the Point fade from Dante's view I3. Beatrice's superadded loveliness I. She draws Dante's attention to the Empyrean into which they are ascending The glorious radiance of the Empyrean I.

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Dante finds himself endowed with a new power enabling him to see the Divine light in the form of a river flowing between two flowery banks The River of Light is transformed into a circular sea of radiance of immense size Dante sees the circular sea of Light take the semblance of a vast white Rose, whose petals are thousands upon thousands of degrees of thrones II7.

Beatrice conducts Dante into the centre of the Heavenly Rose, showing him the Saints in white robes seated on the thrones, like the petals of the flower Dante, while gazing at the Saints milizia santa collected into the form of the snow-white Rose of Heaven, sees a second host, which are the Angels, fly down to them, as bees to flowers, and back to God, as bees to their hive I-I2.

The faces of the Angels are in flames, their wings of gold, their raiment white as snow I3-I5. Dante conjures the Holy Trinity to shine upon those who are tossed about on the tempestuous sea of life Dante's eyes wander over the countless tiers of thrones. He turns round, and in place of Beatrice, finds that an old man clothed in white is standing by him 59, 6o.

The new-comer, who is St. Bernard, points out Beatrice seated in glory upon her throne in the third rank, counting from the uppermost Dante having addressed a farewell prayer and thanksgiving to Beatrice, she beams a smile of last farewell from her far-distant throne, and then turns her face to God 9I Bernard names himself, and directs Dante to look at the radiance of the Saints in the Rose, that he may be prepared to gaze upon the glory of the Blessed Virgin Dante sees the Virgin Mary among the adoring Angels The holy women divide the Saints of the Old Testament from those of the new.

The seats of the former are full, but there are still some vacant places among the latter Bernard shows Dante St. John the Baptist, and beneath him the founders of religious Orders, and others below, corresponding in their tiers to the tiers on which are seated the Mothers of Israel The Rose is not only intersected by a perpendicular, but also by a horizontal line. Below the latter are seated the spirits of infants who died before they had attained the practice of Free Will If these babes enjoy bliss in different degrees, they do so because God so willed it Dante must gaze upon the radiant countenance of the Blessed Virgin, which alone can fit his eyesight to behold the glory of her Divine Son Dante sees the Archangel Gabriel poised on his wings in front of Mary Bernard points out Adam, St.

John, Moses, Anna, and Lucia, and then signifies to Dante that he must employ the time remaining to him of his vision in the contemplation of the Triune God II Bernard makes his prayer to the Virgin on Dante's behalf, imploring grace of her for Dante to rise to the vision of the Divine Essence The Virgin Mary's eyes signify her appreciation of St. Dante, encouraged by St. Bernard, with purified eye-sight gazes on high into the Supreme Light, and sees things such as human power of speech is unable to recount Dante invokes the Supreme Light to enable him to record even a fragment of what he has seen He attempts to describe in what threefold shape he saw the Blessed Trinity He concludes the Poem by showing that God had taken possession of his every desire and his whole will, and was moving them with that same Love with which He directs and governs the Heavenly bodies Liturgical Poetry, from the text of Gautier, ed.

Topo-Cronografia del Viaggio Dantesco. Tre Trattati scritti da lui in lingua latina, dall' anno all' anno , e traslati nei medesimi tempi in volgar fiorentino. Opera omnia, edita studio et labore P. Albero e storia della famiglia de' Conti. Commentaria super Opera diversorum auctorum de Antiquitatibus loquentium.

Sulle dottrine astronomiche della Divina Commedia. Studi particolari sulla Divina Commedia. Dante in Siena owero accenni nella Divina Cornmedia a cose Sanesi. Orlando Furioso, preceduto da alcuni pensieri di Vincenzo Gioberti, e corredato di note. Satire, in " Raccolta di Poesie Satiriche. II Secolo di Dante. Intorno le conoscenze biologiche e mediche di Dante, in "Atti dell' Imp. Istituto Veneto di Scienze". La Quadragesimale di Frate Attavanti. Opera Omnia, studio Monachorum Ord. De dignitate et augmentis Scientiarum.

Opus Majus a S. Edited by the Rev. L'Allegoria della Divina Commedia esposta. Critical, historical, and philosophical contributions to the study of the Divina Commedia. Accenni alle cose Venete nel Poema di Dante. In Dante e il suo secolo. Histoire des Croisades contre les Albigeois. Storia della Letteratura Italiana di Adolfo Bartoli. Gli Ammaestramenti degli Antichi. Sonetti, Canzoni, Capitoli, Sestine, ed altre rime.

Le pii belle pagine della Divina Commedia. Opera Omnia, curis Johannis Mabillon. Annotazioni sopra il Convito di Dante. Vocabolario Dantesco, recato in Italiano da G. Saggio di una interpretazione filologica di parecchi passi oscuri e controversi della Divina Commedia. Versione Italiana di O. Joannis Bocatii 7rept yeveaAo'las. Deorum, libri quindecim, cumannotationibus Jacobi Micylli. Decamerone, corretto ed illustrato con note.

Consolationis libri quinque, recensuit Rudolphus Peiper. Orlando Innamorato and Orlando Furioso di Ariosto: Sopra alcune particolarita della Vita di Dante. Lettere di Eugenio Branchi a Pietro Fraticelli. Edited with an Introduction by Dr. Revised Edition, London, i La vita di Dante e di Petrarca, scritta in Firenze nel maggio The Holy Roman Empire. Tre chiose nella Divina Commedia di Dante Alighieri.

Storia della Republica di Firenze. Prontuario di vocaboli attenenti a parecchie arti, ad alcuni mestieri, a cose domestiche, e altro di uso comune. Giunta al ragionamento degli articoli e de' verbi di M. In Libri Symbolici Eccles. In "Poetae Latini Veteres. In " Rime di diversi Autori Toscani. Voci e modi della Divina Commedia dell' uso popolare toscano: Bellezze della Commedia di Dante Alighieri; Dialoghi. The Troubadours of Dante. Dante and other Essays.

Un Municipio italiano nell' eta di Dante Alighieri. Opera Omnia, edidit Car. In "Rime di diversi Antichi Autori Toscani. Two Treatises of the Hierarchies of Dionysius [the Areopagite] with Introduction, first published, with translation, by J. Volgarizzamento della Storia della Guerra Troiana.

Virgilio nel medio evo. A translation of all that is of primary interest in the chronicle of the Franciscan Salimbene Storia della Volgare Poesia. Thesaurus Hymnologicus, collegit notisque adjecit H. Texts, with Italian or Latin Commentaries.

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Texts, with Italian and English Commentaries and Translations. Text, with English Commentaries and Translations. Texts, with English Translations. Seconda edizione interamente rifatta. One of the worst translations ever printed. Includes the marginal remarks of Vittorio Alfieri, written in his copy of the Divina Commedia. La Divina Commedia ridotta a miglior lezione con 1' aiuto di ottimi manoscritti e soccorsa di note edite ed inedite antiche e moderne per cura di Giuseppe CAMPI.

Tipografia di Monte Cassino, I Testo Inedito ora per la prima volta publicato, ed. Vernon, curante Vincentio Nannucci. Milano Ulrice Hoepli , i Splendid "ltdition de Luxe. Terza edizione nuovamente riveduta, corretta e arricchita col rimario perfezionato, e indice dei nomi propri e delle cose notabili. Dante's Divine Comedy, translated by C. Second edition, revised, corrected, and annotated. The Commedia and Canzoniere of Dante Alighieri.

A new translation, with notes, essays, and a biographical introduction, by Dean E. Dante, translated into English verse by I. A literal prose translation, by John A. Seconda edizione interamente rifatta ed accresciuta di una concordanza della Divina Commedia. Londra, Firenze printed , Corrispondente della Crusca, with an Introduction by the Rev.

A Translation and Commentary by Marvin R. The Purgatorio, translated by W. In the Temple Classics. Le Purgatoire de Dante. Traduction et Commentaire, par A. The Purgatory of Dante Alighieri. The Earthly Paradise Cantos xxviii-xxxiii. With an Introduction by the late Dean Richard W. II Paradiso, Canto xv. With an Introduction by the Bishop of Ripon. II Canzoniere di Dante Alighieri, annotato e illustrato da Pietro Fraticelli, aggiuntovi le rime sacre e le poesie latine dello stesso autore. Il Convito e le bpistole, con illustrazioni e note di P. Fraticelli e d' altri.

Vicenza, per Tolomeo Jarniculo da Bressa, Dante Allighierii legatio pro Francischino Malaspina ad ineundam pacem cum Antonio Episcopo Lunensi, etconstitutio pacis an. Dante e il suo Secolo, I4 Maggio, I Milano Ulrico Hoepli , I Da Dante al Leopardi. Dai Tempi antichi ai tempi moderni da Dante al Leopardi: Short essays by seventy authors on the occasion of the marriage of Professor M.

See SocietA Dantesca Italiana. Les Monasteres Benedictins d' Italie, souvenirs d'un voyage litttraire. Dante nei tempi di Dante, ritratti e studi. Il senso geografico-astronomico dei luoghi della Divina Commedia. Historia Ecclesiastica Gentis Scotorum, curante Irvine. In Nannucci's "Manuale della Letteratura Italiana. Dino Compagni e la sua Cronica, per Isidoro del Lungo.

In the Aldine Edition of the English Poets.

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Benedicti, cum supplementis integris D. Carpenterii, et additamentis Adelungii et aliorum, digessit G. Scholiis, et Indicibus instructa. Classical Tour through Italy in I Vocabolario della Lingua Italiana. Studj ed Osservazioni sopra il testo delle opere di Dante. La personne de Dante dans la Divine Comedie: Concordance of the Divina Commedia. II Dittamondo, ridotto a buona lezione colle correzioni pubblicate del Cav.

Dante and his Time, by Dr. Karl Federn, with an Introduction by A. In Nannucci's " Manuale. Roma, Torino, Firenze, Studi vari sulla Divina Commedia; con prefazione di Enrico Fani. The Mountains of Dante. In " The Alpine Journal," Vol. Il Quadriregio o Poema de' quattro regni. In the Temple Primers. Illustrated by Helen M. II parlare degli artigiani di Firenze, di Girolamo Gargiolli. Histoire Litteraire d'Italie, continuee par Salfi. Metodo di commentare la Commedia di Dante Allighieri. Delizie del parlare Toscano, lettere e ricreazioni.

Versi Editi ed Inediti. Batman upon Bartholome his Book de Proprietatibus Rerum, newly corrected, enlarged and amended: Confessio Amantis, edited and collated with the best MSS. See Tommasdo and Bellini. Opera Omnia, ad MSS. The Dialogues, an old English version, edited by H. Opera omnia accurante J. Il Paradiso di Dante dichiarato ai giovaj da Angelo de Gubernatis. Dante the Wayfarer, by Christopher Hare.

London and New York, Opera, emendata studio et opera Monachorum ordinis S. The Iliad Greek , with prefatory note and introduction by James M. In " Poetae Latini Veteres. An Introduction to the Study of the Prophecies. Opera omnia, recensente Faustino Arevalo. Rime di Fra [Il Beato] Jacopone. Geschichte des Deutschen Reicher unter Lothar. Sacred and Legendary Art. Corpus Juris Civilis, cum. Opera omnia, emendata, atque notis et illustrata a J.

Le Brun et N. In " Historiae Augustae Scriptores X; cum notis variorum. Ordinamenti ond' ebbe Dante Allighieri informato le tre Cantiche. Commentarii in Sacram Scripturam Vet. Documents Inddits sur 1' Histoire de France. Chapters from the Religious History of Spain, connected with the Inquisition. Dictionnaire de la Langue Franqaise. Historiarum Libri qui supersunt, ex recensione A.

Drakenborchii, cum notis J. Creverii et glossario A. L' Italia nella Divina Commedia. Literary Essays Essay on Dante in Vol. Sulla voce Chiarentana di Dante Alighieri, Dichiarazioni. Edizione fatta da Domenico Manni. Commento sopra Canto viii del Paradiso di Dante Alighieri. Concetto e forma della Divina Commedia. Allegoria e bellezze della Divina Commedia. Voci e passi di Dante chiariti ed illustrati con documenti a lui contemporanei. Lexicon quo veterum Theologorum locutiones explicantur theologicae tironibus accomodatum.

Pietro Peccatore, ossia della vera interpretazione di Paradiso xxi, Poetical Works, with notes by the Rev. This state is an integral part of the personality of the gifted, it is a neurophysiological reality. It is an attempt to explain what tree thinking or analog thought is about linear or sequential thinking. The gifted and love 1This fear will stop him. But his desire for love, his idealistic side will often push him beyond. It is a very great strength. Because if we have our weaknesses, we also have strengths. The pleasure of nipples in menNipple Gay Mark is a young Gay that the pleasure of nipples puts in a trance.

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