_To the Editor of the Knickerbocker:_
Sir--Permit me through the pages of your magazine to call the attention of
the public to the learned and elegant researches in Europe of one of our
countrymen, Mr. R. H. Wilde, of Georgia, formerly a member of the House of
Representatives. After leaving Congress, Mr. Wilde a few years since spent
about eighteen months in traveling through different parts of Europe, until
he became stationary for a time in Tuscany. Here he occupied himself with
researches concerning the private life of Tasso, whose mysterious and
romantic love for the Princess Leonora, his madness and imprisonment, had
recently become the theme of a literary controversy, not yet ended; curious
in itself, and rendered still more curious by some alleged manuscripts of
the poet's, brought forward by Count Alberti. Mr. Wilde entered into the
investigation with the enthusiasm of a poet, and the patience and accuracy
of a case-hunter; and has produced a work now in the press, in which the
"vexed questions" concerning Tasso are most ably discussed, and lights
thrown upon them by his letters, and by various of his sonnets, which last
are rendered into English with rare felicity. While Mr. Wilde was occupied
upon this work, he became acquainted with Signer Carlo Liverati, an artist
of considerable merit, and especially well versed in the antiquities of
Florence. This gentleman mentioned incidentally one day, in the course of
conversation, that there once and probably still existed in the "Bargello,"
anciently both the prison, and the palace of the republic, an authentic
portrait of Dante. It was believed to be in fresco, on a wall which
afterward, by some strange neglect or inadvertency, had been covered with
whitewash. Signor Liverati mentioned the circumstance merely to deplore the
loss of so precious a portrait, and to regret the almost utter hopelessness
of its recovery.
As Mr. Wilde had not as yet imbibed that enthusiastic admiration for Dante
which possesses all Italians, by whom the poet is almost worshiped, this
conversation made but a slight impression on him at the time. Subsequently,
however, his researches concerning Tasso being ended, he began to amuse his
leisure hours with attempts to translate some specimens of Italian lyric
poetry, and to compose very short biographical sketches of the authors. In
these specimens, which as yet exist only in manuscript, he has shown the
same critical knowledge of the Italian language, and admirable command of
the English, that characterize his translations of Tasso. He had not
advanced far in these exercises, when the obscure and contradictory
accounts of many incidents in the life of Dante caused him much
embarrassment, and sorely piqued his curiosity. About the same time he
received, through the courtesy of Don Neri dei Principi Corsini, what he
had long most fervently desired, a permission from the grandduke to pursue
his investigations in the secret archives of Florence, with power to obtain
copies therefrom. This was a rich and almost unwrought mine of literary
research; for to Italians themselves, as well as to foreigners, their
archives, for the most part, have been long inaccessible. For two years Mr.
Wilde devoted himself with indefatigable ardor to explore the records of
the republic during the time of Dante. These being written in barbarous
Latin and semi-Gothic characters, on parchment more or less discolored and
mutilated, with ink sometimes faded, were rendered still more illegible by
the arbitrary abbreviations of the notaries. They require, in fact, an
especial study; few even of the officers employed in the "Archivio delle
Riformagione" can read them currently and correctly.
Mr. Wilde however persevered in his laborious task with a patience severely
tried, but invincible. Being without an index, each file, each book,
required to be examined page by page, to ascertain whether any particular
of the immortal poet's political life had escaped the untiring industry of
his countrymen. This toil was not wholly fruitless, and several interesting
facts obscurely known, and others utterly unknown by the Italians
themselves, are drawn forth by Mr. Wilde from the oblivion of these
archives.
While thus engaged, the circumstance of the lost portrait of Dante was
again brought to Mr. Wilde's mind, but now excited intense interest. In
perusing the notes of the late learned Canonico Moreri on Filelfo's life of
Dante, he found it stated that a portrait of the poet by Giotto was
formerly to be seen in the Bargello. He learned also that Signer Scotti,
who has charge of the original drawings of the old masters in the imperial
and royal gallery, had made several years previously an ineffectual attempt
to set on foot a project for the recovery of the lost treasure. Here was a
new vein of inquiry, which Mr. Wilde followed up with his usual energy and
sagacity. He soon satisfied himself, by reference to Vasari, and to the
still more ancient and decisive authority of Filippo Villari, who lived
shortly after the poet, that Giotto, the friend and contemporary of Dante,
did undoubtedly paint his likeness in the place indicated. Giotto died in
1336, but as Dante was banished, and was even sentenced to be burned, in
1302, it was obvious the work must have been executed before that time;
since the portrait of one outlawed and capitally convicted as an enemy to
the commonwealth would never have been ordered or tolerated in the chapel
of the royal palace. It was clear, then, that the portrait must have been
painted between 1290 and 1302.
Mr. Wilde now revolved in his own mind the possibility that this precious
relic might remain undestroyed under its coat of whitewash, and might yet
be restored to the world. For a moment he felt an impulse to undertake the
enterprise; but feared that, in a foreigner from a new world, any part of
which is unrepresented at the Tuscan court, it might appear like an
intrusion. He soon however found a zealous coadjutor. This was one Giovanni
Aubrey Bezzi, a Piedmontese exile, who had long been a resident in England,
and was familiar with its language and literature. He was now on a visit to
Florence, which liberal and hospitable city is always open to men of merit
who for political reasons have been excluded from other parts of Italy.
Signer Bezzi partook deeply of the enthusiasm of his countrymen for the
memory of Dante, and sympathized with Mr. Wilde in his eagerness to
retrieve if possible the lost portrait. They had several consultations as
to the means to be adopted to effect their purpose, without incurring the
charge of undue officiousness. To lessen any objections that might occur
they resolved to ask for nothing but permission to search for the fresco
painting at their own expense; and should any remains of it be found, then
to propose to the nobility and gentry of Florence an association for the
purpose of completing the undertaking and effectually recovering the lost
portrait.
For the same reason the formal memorial addressed to the grandduke was
drawn up in the name of Florentines; among whom were the celebrated
Bartolini, now President of the School of Sculpture in the Imperial and
Royal Academy, Signor Paolo Ferroni, of the noble family of that name, who
has exhibited considerable talent for painting, and Signor Gasparini, also
an artist. This petition was urged and supported with indefatigable zeal by
Signor Bezzi; and being warmly countenanced by Count Nerli and other
functionaries, met with more prompt success than had been anticipated.
Signor Marini, a skillful artist, who had succeeded in similar operations,
was now employed to remove the whitewash by a process of his own, by which
any fresco painting that might exist beneath would be protected from
injury. He set to work patiently and cautiously. In a short time he met
with evidence of the existence of the fresco. From under the coat of
whitewash the head of an angel gradually made its appearance, and was
pronounced to be by the pencil of Giotto.
The enterprise was now prosecuted with increased ardor. Several months were
expended on the task, and three sides of the chapel wall were uncovered;
they were all painted in fresco by Giotto, with the history of the
Magdalen, exhibiting her conversion, her penance, and her beatification.
The figures, however, were all those of saints and angels; no historical
portraits had yet been discovered, and doubts began to be entertained
whether there were any. Still the recovery of an indisputable work of
Giotto's was considered an ample reward for any toil; and the Ministers of
the grandduke, acting under his directions, assumed on his behalf the past
charges and future management of the enterprise.
At length, on the uncovering of the fourth wall, the undertaking was
crowned with complete success. A number of historical figures were brought
to light, and among them the undoubted likeness of Dante. He was
represented in full length, in the garb of the time, with a book under his
arm, designed most probably to represent the "Vita Nuova," for the
"Comedia" was not yet composed, and to all appearance from thirty to
thirty-five years of age. The face was in profile and in excellent
preservation, excepting that at some former period a nail had unfortunately
been driven into the eye. The outline of the eyelid was perfect, so that
the injury could easily be remedied. The countenance was extremely
handsome, yet bore a strong resemblance to the portraits of the poet taken
later in life.
It is not easy to appreciate the delight of Mr. Wilde and his coadjutors at
this triumphant result of their researches; nor the sensation produced, not
merely in Florence but throughout Italy, by this discovery of a veritable
portrait of Dante, in the prime of his days. It was some such sensation as
would be produced in England by the sudden discovery of a perfectly well
authenticated likeness of Shakespeare; with a difference in intensity
proportioned to the superior sensitiveness of the Italians.
The recovery of this portrait of the "divine poet" has occasioned fresh
inquiry into the origin of the masks said to have been made from a cast of
his face taken after death. One of these masks, in the possession of the
Marquess of Torrigiani, has been pronounced as certainly the
_original_. Several artists of high talent have concurred in this
opinion; among these may be named Jesi, the first engraver in Florence;
Seymour Kirkup, Esq., a painter and antiquary; and our own countryman
Powers, whose genius, by the way, is very highly appreciated by the
Italians.
We may expect from the accomplished pen of Carlo Torrigiani, son of the
marquess, and who is advantageously known in this country, from having
traveled here, an account of this curious and valuable relic, which has
been upward of a century in the possession of his family.
Should Mr. Wilde finish his biographical work concerning Dante, which
promises to be a proud achievement in American literature, he intends, I
understand, to apply for permission to have both likenesses copied, and
should circumstances warrant the expense, to have them engraved by eminent
artists. We shall then have the features of Dante while in the prime of
life as well as at the moment of his death.