A.
Florence, 12th September 1840.
My very excellent Friend,
Yours of the 22nd July came safe with the Sonnet, “O della mente eterna immago e prole.” It is very beautiful. It is capital. Let me thank you very sincerely, and let me congratulate you on Germany being about to enjoy the benefit of your invaluable discoveries. Every new country is a triumph of your cause; and, whilst all Europe will be benefiting by your genius and learning, Italy alone remains without an Italian edition of the original Italian work on the great luminary of Italy and of the world. In Florence there are too many obstacles: the priests, and the antiquated routine imbecility of the Crusca. The word-mongers are all envious. They are true bran, and well sifted from the fior di pensieri. They are old, and find your success a reproach, and in this country all hue and cry raised against innovation is supported by force. The tone of the court and the police is carried into the Academies. Well may you say “L’Italia invidia omai fin la Turchia.”
I have delayed writing in the hopes of sending you a sketch which will interest you, but I have hitherto been disappointed. We have made a discovery of an original portrait of Dante in fresco by Giotto! Although I was a magna pars in this undertaking, the Jacks in Office have not allowed me yet to make a copy. Sono tanto gelosi, most likely afraid I should publish it and prevent some friends of their own reaping all the profit they hope from that speculation.
I was the person who first mentioned to Sig. Bezzi, a Piedmontese and friend of Carlo Eastlake’s, the existence of the portrait under the whitewash of three centuries. We were joined by an American, and we three undertook at our expense to employ a restorer to uncover the walls of the old chapel in the palace of the Podestà in search of the portrait—mentioned by F. Villani, Filelfo, L. Aretino, Vasari, Cinelli, etc. Nothing but the constancy and talent of Sig. Bezzi could have overcome the numberless obstacles and refusals we met with. He wrote and spoke with the persuasions of an advocate, and persevered with the obstinacy and activity of an Englishman (which I believe he now is). He alone was the cause of success. We should have had no chance without him. At last, after uncovering enough of three walls to ascertain it was not there, the Government took the task into their own hands, on our terms, with the same restorer, and in the fifth wall they have succeeded. The number of walls is six, for the chapel has been divided in two—(magazines of wine, oil, bread, etc., for the prisoners).
The precise date of the painting is not known. The poet looks about 28—very handsome—un Apollo colle fattezze di Dante. The expression and character are worthy of the subject, and much beyond what I expected from Giotto. Raphael might own it with honour. Add to which it is not the mask of a corpse of 56—a ruin—but a fine, noble image of the Hero of Campaldino, the Lover of Beatrice. The costume very interesting—no beard or even a lock of hair.
A white cap, over which a white capuccio, lined with dark red showing the edge turned back. A parchment book under his arm—perhaps the Vita Nuova.
It is in a group of many others—one seems Charles II. of Naples. Brunetto Latini and Corso Donati are mentioned by the old authors.
I send herewith a pamphlet by Prof. Nannucci—very curious and very interesting respecting Dante—and a dose for the Crusca.
I wrote to you by Mr Craufurd, who took charge of the medal, and sent two pamphlets by him, one for Mr Taylor—and two letters of thanks, one to him and one to Mr Lyell; but I fear by what you say in your last letter you have never received them. Mr C[raufurd] is a friend of Eastlake’s, who can perhaps get them for you. I liked Mr Taylor’s book[91] very much indeed, and am very grateful to you and him.
Yours most sincerely,
Seymour Kirkup.