The Gallery of Portraits: with Memoirs. Volume 1 (of 7)Malkin, Arthur Thomas
History
The Gallery of Portraits: with Memoirs. Volume 1 (of 7)
Malkin, Arthur Thomas
Biography
On his return to Italy, he at length found a permanent refuge at
Ravenna, at the court of Guido da Polenta, the father of that ill-fated
Francesca da Rimini, for whom the celebrated episode of Dante has
engaged the sympathy of succeeding ages. The reception which he
experienced from this Prince, who was a patron of learning and a poet,
was marked by the reverence due to his character, no less than by the
kindness excited by his misfortunes. In order to employ his diplomatic
talents, and give him the pleasing consciousness of being useful to his
host, Guido sent him as ambassador, to negotiate a peace with Venice.
Dante, happy at having an opportunity of evincing his gratitude to his
benefactor, proceeded on his mission with sanguine expectation of
success. But being unable to obtain a public audience from the
Venetians, he returned to Ravenna, so overwhelmed with fatigue and
mortification, that he died shortly afterwards, in the fifty-seventh
year of his age, A. D. 1321, receiving splendid obsequies from his
disconsolate patron, who himself assumed the office of pronouncing a
funeral oration on the dead body.
The portrait of Dante has been handed down to posterity, both by history
and the arts. He is represented as a man of middle stature, with a
pensive and melancholy expression of countenance. His face was long, his
nose aquiline, his eyes rather prominent, but full of fire, his cheek
bones large, and his under lip projecting beyond the upper one; his
complexion was dark, his hair and beard thick and curled. These features
were so marked, that all his likenesses, whether on medals, or marble,
or canvas, bear a striking resemblance to each other. Boccaccio
describes him as grave and sedate in his manners, courteous and civil in
his address, and extremely temperate in his way of living; whilst
Villani asserts, that he was harsh, reserved, and disdainful in his
deportment. But the latter writer must have painted Dante such as he was
in his exile, when the bitter cup of sorrow had changed the gravity of
his temper into austerity. He spoke seldom, but displayed a remarkable
subtleness in his answers. The consciousness of worth had inspired him
with a noble pride which spurned vice in all its aspects, and disdained
condescending to any thing like flattery or dissimulation. Earnest in
study, and attached to solitude, he was at times liable to fits of
absence. The testimony of his contemporaries, and the still better
evidence of his own works, prove that his hours of seclusion were
heedfully employed. He was intimately conversant with several languages;
extensively read in classical literature, and deeply versed in the
staple learning of the age, scholastic theology, and the Aristotelian
philosophy. He had acquired a considerable knowledge of geography,
astronomy, and mathematics; had made himself thoroughly acquainted with
mythology and history, both sacred and profane; nor had he neglected to
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