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Updated: June 8, 2025
Scenes from Dante's "Purgatorio" and subjects from the "Metamorphoses" of Ovid are treated here in the same key; but the latter, since they engaged Signorelli's fancy upon Greek mythology, are the more important for our purpose. Two from the legend of "Orpheus" and two from that of "Proserpine" might be chosen as typical of the whole series.
"Belarmino," "Beda." Cardinal Bellarmin and Venerable Bede are too well known to require any observations. "Serpi, Fray Dimas," cut into two lines, with the names transposed, mean 'Fr. In Montalvan the marginal note gives, "Lib. de Purgatorio, cap. 26," as the reference. "Jacob Solino," the next authority for the legend, is perhaps the most perplexing in the list.
Specially in "The Death of Virginia," of the Morelli Collection, Bergamo, and the sketched figures in the repainted "Adoration of the Magi," lately exposed in the Uffizi. "Purgatorio," ii. 38. For example, in the "Madonna," of the Mancini Collection, and "The Crowning of the Elect," at Orvieto. Signorelli's pictures, when not frescoed, are invariably painted with oil. "Italian Painters," i. 92.
They went up more steps between rocky walls. When in after years he read the Purgatorio, as often as he came to one of its ascents, Robert saw this stair with his inward eye. At the top of the stair was the garden, still ascending, and at the top of the garden shone the glow of Mr. Lindsay's parlour through the red-curtained window.
For here was his "Patmos," if we may venture on imagery borrowed from the history of a greater seer; and here the visions of the Purgatorio had passed before his eye. After a few hours' riding, the fine hills of the Tyrolese Alps came quite up to us, disclosing, as they filed past, a continuous succession of charming views.
It is told in the sixth chapter of his "Vida y Purgatorio de San Patricio", and in the edition of 1628 fills over forty pages. Calderon follows the narrative very closely, but in one noticeable incident he greatly improves upon his predecessor. This is in the celebrated skeleton scene of the third act. The corresponding scene in Montalvan's story is puerile enough.
The first name, "Dionisio el gran Cartusiano," scarcely requires any explanation. The work referred to, in an edition of which I have a copy, is as follows: "D. Dionysii Carthusiani liber utilissimus de quatuor hominis novissimis, etc.," Parisiis, 1551. The account "De Purgatorio Sancti Patritii" extends from fol. 235 to fol. 237.
Condivi, moreover, informs us that the statues of the Lives Contemplative and Active upon the tomb of Julius were suggested by the Rachel and Leah of the Purgatorio. We also know that he filled a book with drawings illustrative of the "Divine Comedy."
I do not agree with much modern criticism, in greatly preferring the Inferno to the two other parts of the Divine Commedia. Such preference belongs, I imagine, to our general Byronism of taste, and is like to be a transient feeling. The Purgatorio and Paradiso, especially the former, one would almost say, is even more excellent than it.
There is a famous and magnificent passage in Dante's Purgatorio which Catholic commentators interpret in sacramental terms but we may well apply in a wider sense to the progress of the human spirit towards the ideal. It occurs at that crucial point where the ascending poet leaves the circles of sad repentance to reach the higher regions of growing light.
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