Abstract
This chapter is divided in four sections, the first part, I. Dante’s Theater, beginning with Pietro Alighieri explaining that his father bases the Commedia on Terence’s Comedies and the Roman theater in the round, likewise the “Letter to Can Grande” making this observation; its second section more directly on Terence, including an explanation concerning the Greek logographers and their relation to Greco-Roman drama; its third on liturgical drama based in turn on Terence whom the oblates read in order to learn their conversational Latin, all the while noting that Terence was the freed slave from Africa of the Scipios and their Somnium Scipionis that Cicero penned. The second part is on II. Dante’s Music, particularly discussing the findings for the performance of the Music of the Commedia, that Dante composed seven motets which combine profane vernacular and sacred Latin, reconciling these with St Bernard’s lauda, “Vergina Madre”.
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Notes
- 1.
British Library website gives the digitized version of BLEgerton 943, Commedia: https://www.bl.uk/manuscripts/FullDisplay.aspx?index=5&ref=Egerton_MS_943. The “Master of the Paduan Antiphoners” is of the first half of the fourteenth century; he also illustrates Francesco da Barberino’s commissioned 1313 BRicc 1538, Miscellany, http://teca.riccardiana.firenze.sbn.it/index.php/it/?option=com_tecaviewer&view=showimg&collocazione=Ricc.1538&pagina=c.%2010r&search= when Francesco is still in exile from Florence. The late fourteenth century, Neapolitan, BL, Additional 19587, Commedia is at: https://www.bl.uk/manuscripts/FullDisplay.aspx?index=1&ref=Add_MS_19587
Other late and magnificent illuminations are in BLYates Thompson 36, Commedia
https://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Yates_Thompson_MS_36
and the Paris-Imola Commedia, this last studied especially by Carlo Illuminati:
https://gallica.bnf.fr/ark:/12148/btv1b10509601v.r=MS%20Italian%202017Dante%20Aligheri%20Dante%20Aligheri?rk=21459;2. Maria Grazia Ciardi DuPrè Dal Poggetto discussed the relationship between the miniatures of the BLM Strozz. 146 Tesoretto at the bottom of the pages, as here with the Commedia miniatures, with manuscripts of Roman comedies. The Dante illuminated manuscripts are clearly theatrical in the same mode as are Terentian illuminated manuscripts.
- 2.
Dante Alighieri, La Divina Commedia, illustrated, Sandro Botticelli.
- 3.
Richard de Fournival, Le Bestiare d’Amour; Reponse de la Dame, ed. Celestin Hippeau.
- 4.
Musica della Commedia, Ensemble San Felice di Federico Bardazzi
https://www.youtube.com/playlist?list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq
- 5.
Dunstan Tucker, OSB, “Dante’s Reconciliation in the Purgatorio”, American Benedictine Review 20 (1969), 75–92. I wrote to him about my concern over the muddled footnote, and he in turn sent me Father Gerard Farrell, OSB, their monastery’s Chant Master then out of a job following Vatican II, who helped me direct Princeton University students perform Benedictine sung liturgical dramas and who next found a teaching post with Westminster Choir College in Princeton.
- 6.
JB Holloway, The Pilgrim and the Book: A Study of Dante, Langland and Chaucer, pp. 147–150; Mattias Lundberg, Tonus Peregrinus: The History of a Psalm Tone; Dunstan J. Tucker, O.S.B., “‘In Exitu Israel de Aegypto’: The Divine Comedy in The Light of the Easter Liturgy”, Benedictine Review 11:1 (1960) 43–61; Robert Hollander, “Purgatorio II: Cato’s Rebuke and Dante’s scoglio”, Italica 52 (1975) 348–363.
- 7.
Pietro Alighieri, Commentarium, on Andreas Capellanus, Inferno V, p. 89, “Unde Gualterius definit sic talem amorem”.
- 8.
Letter to Can Grande, trans. James Marchand, https://faculty.georgetown.edu/jod/cangrande.english.html
- 9.
BAV Ottoboniana lat. 2867, retrievable from the Vatican website, VatDigLib.
- 10.
- 11.
Selected Terence Manuscripts through Christine de Pizan’s Dates that I examined:
Italy:
Vatican
BAV Vat.lat.3226. 5th C. Rustic capitals. “Bembino”. Used by Angelo Poliziano.
BAV Vat.lat.3868. 9th C. Magnificent miniatures
Florence
BML Biblioteca Laurenziana
[In the original Laurentian library, Terence’s works were shelved under “Poetae Latini”, following those of Statius, as “P. Terentii Afri Comedia VI”.]
BML Laur. Plut.38.17. 14th C. Boccaccio’s holograph manuscript “Incipit liber terrentij”
[BML Plut.54.32. Apuleius. 14th C. Boccaccio’s holograph manuscript]
BML Plut.38.27. 12th C.
BML Plut.38.34. Colophon date, 1397.
Biblioteca Riccardiana
BRicc 528. Siglum E.
Biblioteca Nazionale
BNCF Banco Rari 97. Angelo Poliziano’s manuscript making use of the Bembino codex.
BNCF II.IV.6. 14th C. From Santa Maria Nuova. School book, different hands, speeches on Florentine, Roman, Athenian liberty.
BNCF II.IV.333. Dated 1393. A Buondelmonte book, fols. 60–61, on how one can live in time of pestilence.
France: Paris, Bibliothèque Nationale
BNF lat. 2322. 11th C. Fol. 77, last two leaves, lost, destroyed, illustrated, glossed Terence. Micio/Demea.
BNF lat. 7899. Siglum P. 9th C. Illustrated Terence, reproduced in Madame Dacier’s editions of Terence.
BNF lat. 7900. Siglum Y. 10th C. Fleury MS. Drawings in brown ink, interlinear gloss.
BNF lat. 7900A. 11th C. Some photographs of pages now at University of Hamburg, torn out before 17th C. Terence not illustrated, though Martianus Capella is.
BNF lat. 7901. 11th C. Unfinished manuscript, not illustrated.
BNF lat. 7902. 11th C. Glossed, rustic capitals.
BNF lat. 7903. 11th C. Begins with drawings related to lat. 7899.
BNF lat. 7904. 12th C.
BNF lat. 7905. 13th C.
BNF lat. 7906. 13th C.
BNF lat. 7907. 14th C. Fol 30, illustration from Eunuchus.
BNF lat. 8193. 15th C. Duc de Berry MS, according to Henry Martin. Illuminated, copying Terence des Ducs MS.
BNF lat. 9345. Siglum Pb. 11th C.
BNF lat. 10304. Siglum p. 11th C.
BNF lat. 16235. 11th C. Mentions another ancient Terence manuscript at St. Remi de Rheims as burned in the 17th C. Glossed, author portrait, fol. 41.
Bibliothèque de l’Arsenale 664. Terence des Ducs, Duc de Guyenne. 15th C. Magnificently illuminated.
England: London
British Library
BLBurney 261. 14th C. Parchment.
BLEgerton 167. Terence in Irish. Owned Luca Smith. Paper MS.
BLHarleian 2456. 14th C. Paper and parchment.
BLHarleian 2475. Paper MS, dated 1297. Catalogue dates 15th C.
BLHarleian 2524. Humanist, 15th C. Catalogue dates 13th C.
BLHarleian 2525. 14th C.
BLHarleian 2562. 14th C. Paper.
BLHarleian 2656. 12th C.
BLHarleian 2670. 10th C. “in usum Colegii Buslidiani”.
BLHarleian 2689. 14th C. Parchment.
BLHarleian 2750. 10th C. Silver capitals.
BLHarleian 5443. 11th C, before 13th C.
BLRoyal A.VIII. 12th, 13th C.
BLRoyal 15.A.XII. 12th C., English hand.
BLRoyal 15.B.VIII. Figure of Christ at bottom of page.
BLAdd. 31,827. 13th C. Monastic MS.
Oxford Bodleian Library
Auct. F.2.13. 12th C. At St. Albans, 13th C. Published in Major Treasures in the Bodleian Library: Medieval Manuscripts in Microform, 9, ed. W.O. Halsall, Oxford, 1978.
Auct. F.6.27. 11th C. Codex Ebnerianus. At Nuremberg.
Bodl. 678. Dover Priory. From France. 13th C. Schoolbook.
Brasenose 18. Fine Humanist MS. “ex Petri Bembi, doctissimi olim Cardinalis MS: quos Henricus Wottonius apud eiusdem Haeredes Venetiis coemerat”. 1491.
E.D. Clarke 28. Written by Florentine notary, 1366/1466?
Douce 347. Fr. Douce, “They pretend to have a MS of Terence, in the Vatican Library written by his own hand… In the library of the Acad, of Altdorf there is a MS of Terence with a long speech by Pamphilus in the 5th Act of Andria, not printed in any of the editions”. 1439. Italy.
Laud Lat. 76. 12th C? Belonged to Laud, 1635. Magdalen 23. Annotated by Francesco Petrarch.
- 12.
A.E. Housman, A Shropshire Lad.
- 13.
See also Dennis Looney, Freedom Readers: The African American Reception of Dante Alighieri and the Divine Comedy, and the Dante education program in Attica State Prison by Ronald Herzman and Bill Cook, which witness to Dante’s efficacy in the face of racism. Sadly, I find this “whitewashing” everywhere. Recently, the tomb of the Indian Prince in the Cascine was restored, but the Soprintendenza insisted that the original dark coloring of his complexion be ignored and left only as white marble. Likewise our plaque to Sarah Parker Remond, the Afro-American Abolitionist who, with a letter from Giuseppe Mazzini, studied cutting-edge obstetrical medicine at Santa Maria Nuova Hospital in 1866–1868, following medical studies at the University of London, its marble hand-chiseled by Daniel-Claudiu Dumitrescu, who had already incised that to Frederick Douglass, her friend, who helped restore Donatello’s pulpit in Prato, who created the facsimile of the Libro del Chiodo, and who is descended from Roma slaves in Europe, was rejected for a machine-made plaque stating she was merely a nurse.
- 14.
Suetonius, De viris illustris (circa 106–113, CE), lists Terence first, followed by the other poets, Virgil, Horace, Tibullus, Perseus, and Lucan.
- 15.
[Hrotswitha] Roswitha, Plays, trans. Christopher St John. London: Chatto and Windus, 1923; Rosvita, Dialoghi drammatici.
- 16.
Boccaccio (1313–1375) copied out all six Comedies in his own hand in the Laurentian manuscript of them, BML Plut.38.17, “Incipit liber terrentij”, giving the same spelling to the author’s name as had Brunetto and Dante in their writings; Florence was performing Terence’s plays, for instance, the Andria in 1476;
- 17.
JB Holloway, The Pilgrim and the Book: A Study of Dante, Langland and Chaucer, pp. 28–55; trans. as Il Pellegrino e il libro: Uno studio su Dante Alighieri, pp. 33–61; Musica della Commedia dell’Ensemble San Felice di Federico Bardazzi, https://www.youtube.com/watch?v=Ej0t2br5P2o&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=4.
- 18.
- 19.
Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky. However, in the case of Terence, the Carnivalesque playfulness of the world-upside-down in the vernacular against Latin’s official solemnity of Latin instead irrupts even into the Latin texts the schoolchildren were studying.
- 20.
Dante Alighieri, La Vita nuova, trans. Barbara Reynolds, p. 11.
- 21.
Jorge Luis Borges, “Il Carnefice pietoso”, Nove Saggi danteschi, p. 54.
- 22.
Millard Meiss. French Painting in the time of Jean de Berry: The Limbourgs and their Contemporaries.
- 23.
https://www.florin.ms/OpereBrunettoLatino.html, Vol II, Tesoro I and II, giving transcriptions of BML, Plut,42.19.
- 24.
Leonardo Bruni, Le Vite di Dante e del Petrarca, pp. 13–14.
- 25.
Carl Kerényi, “The Trickster in Relation to Greek Mythology”; Carl G. Jung, “On the Psychoanalysis of the Trickster Figure”; Paul Radin, The Trickster: A Study in American Indian Myths.
- 26.
Mary Hatch Marshall. “Boethius’ Definition of Persona and Medieval Understanding of the Roman Theater”, Speculum 26 (1950).
- 27.
Carl Kerényi, Asklepios: Archetypal Image of the Physician’s Existence.
- 28.
JB Holloway, The Pilgrim and the Book, pp. 27–55: https://www.umilta.net/peregrinus.html
- 29.
DigiVatLib, BAV lat. 4776, fol. 39r.
- 30.
JB Holloway, “Fleury Easter Liturgical Plays”, Research Opportunities in Renaissance Drama, 21 (1978), 95–96; “Medieval Liturgical Drama, the Commedia, Piers Plowman, and the Canterbury Tales”, American Benedictine Review, 32 (1981), 114–121; Ensemble San Felice di Federico Bardazzi, “La Musica della Commedia”, https://www.youtube.com/watch?v=Ej0t2br5P2o&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=4
- 31.
JB Holloway, “Medieval Liturgical Drama, the Commedia, Piers Plowman and The Canterbury Tales”, American Benedictine Review, 32 (1981), 114–121; “Monks and Plays.” Studies in Medieval and Renaissance Teaching (SMART/RALPH) 10 (1983), 10–12.
- 32.
Dante Alighieri, La Divina Commedia, illustrated, Sandro Botticelli, pp. 279–280; my friend and colleague, Juliana Dresvina, noted that the Russian delegates at the Council of Florence wrote of witnessing liturgical dramas performed at the Santissima Annunziata and the Badia: Juliana Dresvina, “The Unorthodox Itinerary of an Orthodox Bishop: Abraham of Suzdal and His Journey to Western Europe 1437–1441”, The Mediaeval Journal 1 (2014), 91–127.
- 33.
This too has an interesting afterlife: Lucius in Lucius Apuleius, Golden Ass; in HH in Herman Hesse’s Journey to the East; in Graham Greene’s The Third Man.
- 34.
JB Holloway, “La Vita Nuova: Paradigmi di pellegrinaggio”, Lectura Dantis 2002–2009. Omaggio a Vincenzo Placella per i suoi settanta anni, pp. 1181–1204; “‘Come ne scriva Luca’: Anagogy in Vita nova and Commedia”, Divus Thomas 115 (2012), 150–170.
- 35.
Vincenzo Placella, “Dante e l’Anagogia”, Studi medievali e moderni 1 (2003), 70–86.
- 36.
JB Holloway, Pilgrim and Book; trans. Il pellegrino e il libro: Uno studio su Dante Alighieri, De strata francigena 20/1 (2012); “The Poet in the Poem”, Allegoresis, ed. Stephen J. Russell, pp. 109–132; republ. Jerusalem: Essays on Pilgrimage and Literature, pp. 121–141.
- 37.
Laudario di Sant’Egidio, fol. 9 “Onde ne vien tu pellegrino amore”, cited by Ursula Betka, “Marian Images and Laudesi Devotion in Late Medieval Italy, 1260–1350”, Ph.D. Thesis, University of Melbourne, Melbourne 2001, p. 588.
- 38.
Julian of Norwich, Showing of Love: Extant Texts and Translations, eds. Sr Anna Maria Reynolds, C.P. and JB Holloway, XIII.xxxiii.59v, p. 262.
- 39.
Originally my 1974 Berkeley dissertation, “The Figure of the Pilgrim in Medieval Poetry”, this became the book, The Pilgrim and the Book: A Study of Dante, Langland and Chaucer; trans into Italian as Il Pellegrino e il Libro: Uno studio su Dante Alighieri, in De strata francigena 20/1, as well as several articles.
- 40.
John Webster Spargo, Virgil the Necromancer: Studies in Virgilian Legends, pp. 136–197, 256; Domenico Comparetti, Virgilio nel Medio Evo, 3 vols. Vergil, seen as magician, warranted the spelling change to Virgil, as virga, wand, staff.
- 41.
The recordings of these readings can be accessed at the beginnings of each canto in. https://www.florin.ms/Dantevivo.html
- 42.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi e Marco di Manno, performed in Orsanmichele, Graz, Cologne, Avila, Ravenna and Florence’s Duomo: https://www.youtube.com/playlist?list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq
- 43.
Mikhail Bakhtin, Rabelais and His World, trans. Hélène Iswolsky; Yvonne Rokseth, Polyphonies du XIIIe siècle: Le manuscript H 196 de la faculté de médicine de Montpellier, 4 vols.
- 44.
- 45.
Augustine, Confessions IX.x. Augustine’s mystical discourse with his mother at Ostia centers on their arriving at a mutual and global silence. At her death, chapter xi, a psalm is sung. While Dante has Casella disturb the holy island mountain with lecherous song of Dante’s own composing, until Cato breaks its Sirenic spell.
- 46.
Mattias Lundberg, Tonus Peregrinus: The History of a Psalm Tone; Dunstan J. Tucker, O.S.B., “‘In Exitu Israel de Aegypto’: The Divine Comedy in The Light of the Easter Liturgy”, Benedictine Review 11:1 (1960) 43–61; Robert Hollander, ‘Purgatorio II: Cato’s Rebuke and Dante’s scoglio,’ Italica 52 (1975) 348–363.
- 47.
Nicolino Applauso observes that Casella is fined, 13 July 1282, Biccherna 84 c. 1r, Archivio di Stato di Siena: “Casella homine curiae quia fuit inventus de nocte post tertium sonum campanae Comunis”, “S’i fosse foco ardere’ il mondo’: L’esilio e la politica nella poesia di Cecco Angiolieri”, Letteratura Italiana Antica, p. 226. The document is on display in Siena’s Archivio di Stato.
- 48.
JB Holloway, The Pilgrim and the Book, pp. 145–162, Plate Xa.
- 49.
Fernand Mossé, Handbook of Middle English, Plate II, pp. 201–202, 369; Yvonne Rokseth, Polyphonies du XIIIe siècle: Le manuscript H 196 de la faculté de médicine de Montpellier, 4 vols, passim.
- 50.
Mikhail Bakhtin, Rabelais and His World; Michael Camille, The Gothic Idol, passim.
- 51.
‘|Che due cose contrarie quando sono insieme/l’una contra l’altra. elle sono più cognoscenti’ [Tesoro, 6ra], and ‘I|N questo libro ci ae mostrato el mastro L’insegnamenti de le uirtù e de uitij. L’uno per operare. e l’altro per schifare. che questa e la cagione per che l’uomo de sapere bene e male. |Et tutto chello libro parli più de le uirtù ke de uitij. non pertanto la oue lo bene sia comandato a farlo. secondo che aristotile dice. |Vno medesimo insegnamento è in due contrarie cose [Tesoro, 72ra].
- 52.
Boethius, De Institutione musica.
- 53.
Once I called up a manuscript of the De Musica in Verona’s Biblioteca Capitolare to find its complex visual images of these harmonies gloriously color-coded. Also manuscripts of Dante’s Vita nova and those of Provençal lyrics, from which Ezra Pound’s appunti fell to the floor.
- 54.
Francesco Ciabattoni, Dante’s Journey to Polyphony, p. 36.
- 55.
Catherine S. Adoyo, “Dante decrypted: Musica universalis in the textual architecture of the ‘Commedia’”, Bibliotheca Dantesca, 1 (2018): 37–69, https://repository.upenn.edu/server/api/core/bitstreams/b846b6ef-8b19-4060-a22b-2d7f8b1d6597/content
- 56.
Giovanni Boccaccio, Trattattello in lauda di Dante Alighieri, XX, “Sommamente si dilettò in suoni e in canti nella sua giovanezza, e a ciascuno che a que’ tempi era ottimo cantatore o sonatore fu amico e ebbe sua usanza; e assai cose, da questo diletto tirato, compose, le quali di piacevole e maestrevole nota a questi cotali facea rivestire”; Leonardo Bruni, Della vita, studi e costumi di Dante, “Dilettossi di musica e di suoni, e di sua mano egregiamente disegnava; fu ancora scrittore perfetto, ed era la lettera sua magra e lunga e molto corretta, secondo io ho veduto in alcune epistole di sua mano propria scritte”.
- 57.
Il Canzoniere Palatino: Biblioteca Nazionale Centrale di Firenze, Banco Rari 217, ex Palatino 418, ed. Lino Leonardi.
- 58.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=hB7XtVjxXz0&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=2
- 59.
- 60.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=bC0p1DfaPsI&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=6
- 61.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=W-AvJ7UWRII&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=14
- 62.
JB Holloway, The Pilgrim and the Book, “Veni Creator Spiritus”, pp. 73, 83–84.
- 63.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=AGNtqVGz7pc&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=15
- 64.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=wHSTr40Se7k&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=16
- 65.
BAV, lat 3793, fol. 99v.
- 66.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi
https://www.youtube.com/watch?v=5eTX-6v2fiw&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=17
- 67.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi
https://www.youtube.com/watch?v=G3sTJJ0RcGk&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=18
- 68.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=kwHTvUJsmB8&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=20
- 69.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=B4un0OSNUSQ&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=21
- 70.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=UN9DU59huyc&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=25
- 71.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=WJODKHZ3f5g&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=26
- 72.
Immanuello Romano, L’Inferno e Il Paradiso, ed. Giorgio Battistoni; Giorgio Battistoni, Verona, ‘Il Libro della Scala, Dante Alighieri, La Commedia, e Immanuello Romano, L’Inferno e il Paradiso’, The City and the Book International Conference II, The Manuscript, The Illumination, Accademia delle Arte del Disegno, Via Orsanmichele 4, Florence, 4–7 September 2002, http://www.florin.ms/beth3.html
- 73.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=h5hx9Glbt1k&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=32
- 74.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=93dVA8zy7Jg&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=33
- 75.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=49RShu1A_3Q&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=11
- 76.
La Musica della Commedia, Ensemble San Felice di Federico Bardazzi https://www.youtube.com/watch?v=jR3XJAOSgtA&list=PLJJChgOGCbAUljXZOv2TH32IGeYfBwYTq&index=40
- 77.
Arnolfo alle origini del Rinascimento fiorentino, ed. Enrica Neri Lusanna, pp. 260–261. This is an instance where sculpture, known by Dante, explains his lyric and its music, sight, sound, and touch. Orcagna’s tabernacle in 30. Orsanmichele similarly gives the Dormition of the Virgin, a scene the Master of the Dominican Effigies, connected with Francesco da Barberino, illustrated in an Impruneta manuscript.
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Bolton Holloway, J. (2024). Chapter 6: Dante’s Theater, Dante’s Music. In: Dante and His Circle. The New Middle Ages. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-44093-9_6
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