Portraits of Dante From Giotto to Raffael a Critical Study With a Concise Icon
Portraits of Dante From Giotto to Raffael a Critical Study With a Concise Icon
Richard Thayer Holbrook
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1 8, note t. t In the chapter on ' Andrea detto I'Orcagna, ' in // Libra di Antonio Billi (Strozzi MS, ), we read : ' Andrea di Cione, detto I'Orcagnia. Costuj dipinse la cappella maggiore in Santa Maria Nouella, guasta dal Ghirlandaio, della quale trasse molte belle cose. Dipinse la cappella delli Strozi et [la] tauola in detta chiesa, ' &c. The Petrei MS. Reads : ' Andrea di Cione, detto I'Orgagnia, dipinse la cappella maggiore di Santa Maria Nouella, che le guasto a nostri di il Grillandaio ...et ne trasse di molte belle cose. Guardisi al messo del comune. Dipinse la cappella delli Strozi, ' &c. Frey's ed. 164 ORCAGNA'S MODEL jectures the third seems to me the least plausible ; for ' restorers, ' like scribes, usually normalise extraordinary features and tend to make them commonplace. It is worthy of note that in the sketch by Chambers {ca. 1840) the lips of Orcagna's Dante meet almost evenly, though the lower very slightly recedes. In Giotto's portrait (as copied by Faltoni and Kirkup before Marini's restoration) the lips are normal, but Giotto may have forgotten or effaced a charac- teristic which was probably more pronounced in Dante's last years than in his youth.
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