moreover, the form of the cap is lost and confounded.
"I desired to make a drawing It was denied to me But I obtained the means to be shut up in the prison for a morning; and not only did I make a drawing, but a tracing also, and with the two I then made a fac-simile sufficiently careful. Luckily it was before the rifacimcnto."
This fac-simile afterwards passed into the hands of Lord Vernon, well known for his interest in all Dantesque studies, and by his permission it had been admirably reproduced in chromo-lithography under the auspices of the Arundel Society. The reproduction is entirely satisfactory as a presentation of the authentic portrait of the youthful Dante, in the state in which it was when Mr. Kirkup was so fortunate as to gain admission to it. ....
This portrait by Giotto is the only likeness of Dante known to have been made of the poet during his life, and is of inestimable value on this account. But there exists also a mask, concerning which there is a tradition that it was taken from the face of the dead poet, and which, if its genuineness could be established, would not be of inferior interest to the early portrait. But there is no trustworthy historic testimony concerning it, and its authority as a likeness depends upon the evidence of truth which its own character affords. On the very threshold of the inquiry concerning it, we are met with the doubt whether the art of taking casts was practised at the time of Dante's death. In his 'Life of Andrea de Verrocchio, Vasari says that this art began to come into use in his time, that is, about the middle of the fifteenth century; and Bottari refers to the likeness of Brunelleschi, who died in 1446, which was taken in this manner, and was preserved in the office of the Works of the Cathedral at Florence. It is not impossible that so simple an art may have been sometimes practised at an earlier period; and if so, there is no inherent improbability in the supposition that Guido Novello, the friend and protector of Dante at Ravenna, may, at the time of the poet's death, have had a mask taken to serve as a model for the head of a statue intended to form part of the monument which he proposed to erect in honor of Dante. And it may further be supposed, that, this design failing, owing to the fall of Guido from power before its accomplishment, the mask may have been preserved at Ravenna, till we first catch a trace of it nearly three centuries later.
There is in the Magliabecchiana Library at Florence an autograph manuscript by Giovanni Cinelli, a Florentine antiquary who died in 1706, entitled La Toscana letterata, ovvero Istoria degli Scrittori Fiorentini, which contains a life of Dante. In the course of the biography Cinelli states that the Archbishop of Ravenna caused the head of the poet which had adorned his sepulchre to be taken therefrom, and that it came into the possession of the famous sculptor, Gian Bologna, who
