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Updated: June 8, 2025
The invention exhibited in the punishments and tortures and conditions of the "Inferno" and "Purgatorio" and "Paradiso," is not admirable for their mere exuberance and diversity, for that might have come from a comparatively prosaic mind, especially when fed, as all minds then were, with the passionate mediaeval beliefs, but for the heart there is in them, throbbing deeply in some, and for the human sympathy, and thence, in part, the photographic fidelity, and for the paramount gift poetically to portray.
Around, the medallions again represent subjects from the "Purgatorio," and are apparently by the same hand as the last, with the exception of the lower one, which seems to have some of Signorelli's own work in the nude figures. The south wall is pierced by three lancet windows, the central one over the altar, dividing the two principal frescoes of "Heaven" and "Hell."
The sign that he had entered the second was a recurring reference to apostacy, and then you had the melancholy satisfaction of meeting the living representative of Simon Peter. When he passed into the last zone of the Purgatorio, Donald was beyond speech, and simply allowed one to gather from allusions to thirty pieces of silver that he was Judas Iscariot.
The writer's mind is full of the recollections and definite images of his various journeys. The permanent scenery of the inferno and purgatorio, very variously and distinctly marked, is that of travel.
In the thickness of the small window which cuts into this fresco, are painted two coloured medallions, one of an angel vanquishing a devil, the other of S. Michael, with the balances, weighing souls both by the master himself. Below are two series of small pictures in grisaille, with scenes from the "Purgatorio." The lowest is unfortunately hidden by the altar.
If not, O Lord, remove me hence!" The "Athenaeum", Oct. 26, 1853. The account of St. Patrick's Purgatory given by Luis Enius in this long narrative is taken immediately from the seventh, eighth, and ninth chapters of Montalvan's "Vida y Purgatorio de San Patricio", which, as already stated, are themselves a translation from the "Florilegium Insulae Sanctorum" of Messingham.
Some of these names are obvious enough; it is with regard to those that are rendered more obscure by the manner in which they are presented that the difficulty arises. The list is taken for the most part from the fourth chapter of Montalvan's "Vida y Purgatorio de San Patricio", but with the names singularly disconnected and misplaced.
An exception might, perhaps, require to be made for Dante, who would seem to have seen and described many things left quite untouched by Giotto, and even by Raphael; but in estimating Dante we must be careful to distinguish the few touches which really belong to him, from the great mass of colour and detail which we have unconsciously added thereto, borrowing from our own experience and from innumerable pictures and poems which, at the moment, we may not in the least remember; and having done so, we shall be led to believe that those words which suggest to us so clear and coloured a vision of scenes often complex and uncommon, presented to his own mind only a comparatively simple and incomplete idea: the atmospheric effects, requiring a more modern painter than Turner, which we read between the lines of the "Inferno" and the "Purgatorio," most probably existed as little for Dante as they did for Giotto; the poet seeing and describing in reality only salient forms of earth and rock, monotonous in tint and deficient in air, like those in the backgrounds of mediæval Tuscan frescoes and panels.
The last speaker, whoever he may be, and he is frequently the 'gracioso', abandons, for the last few lines of his speech, his assumed character, and addresses the audience as an actor in a brief epilogue. The list of authorities at the end of "El Purgatorio de San Patricio" is nothing more.
Stewart's appearance. Not one of them succeeded; but the peculiar shade of her hair, the low forehead and delicate line of the dark eyebrows, the outline of the mask, sometimes admired, sometimes criticised, made her portrait always recognized, whether simpering as a chocolate-box classicality, smiling sadly from the flowery circle of the Purgatorio, or breaking out of some rough mass of paint with the provocative leer of a cocotte of the Quartier Latin.
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