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.