Italian - Copy of the "Death Mask" of Dante Alighieri, late 19th century

Italian

Copy after a cast of the "Death Mask" of Dante Alighieri, late 19th century

Plaster , 21.59 cm (8 1/2 in.)

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Object details

Accession number

U27e60

Primary Creator

Italian

Full title

Copy after a cast of the "Death Mask" of Dante Alighieri

Creation Date

late 19th century

Object Case

Dante Case

Provenance


Gift from the Dante Society, Cambridge, Massachusetts to Isabella Stewart Gardner in 1885.

Dimensions

21.59 cm (8 1/2 in.)

Display Media

Plaster

Web Commentary

Isabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.

Permanent Gallery Location

Long Gallery

Bibliography

Charles Eliot Norton. On the Original Portraits of Dante (Cambridge, Massachusetts 1865), pp. 11-18. (as cast from a mask in the collection of the artist Seymour Kirkup (1788-1880); after a death mask of Dante Alighieri made by Guido II Novello da Polenta (d. 1330))Richard Thayer Holbrook. "The Torrigiani 'Death Mask' and Other So-Called Death-Masks of Dante" in Richard Thayer Holbrook. Portraits of Dante, From Giotto to Raffael [sic]: A Critical Study, with a Concise Iconography (Boston, 1911), pp. 36-64. ("Naples Bronze" [Museo Nazionale, Naples, no. 10516] as source for "Dante death masks," dated about 1450)Morris Carter. Isabella Stewart Gardner and Fenway Court (Boston, 1925), p. 94.Rollin Hadley. “Notes, Records, Comments.” Gardner Museum Calendar of Events 9, no. 7 (17 Oct. 1965), p. 2. Jonathan Nelson. "Dante Portraits in Sixteenth Century Florence." Gazette des Beaux-Arts (September 1992), pp. 71, 77. (as probably after the same model as Museo Nazionale, Naples, no. 10516)Nathaniel Silver "Isabella Stewart Gardner, Simone Martini, and Gold-Ground Paintings in America" in Nathaniel Silver (ed.). Simone Martini in Orvieto. Exh. cat. (Boston, MA: Isabella Stewart Gardner Museum, 2022) p. 17, fig. 4. 

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Commentary

Isabella Stewart Gardner kept meticulous records of many of her acquisitions. In keeping with this legacy, object information is continually being reviewed, updated, and enriched in order to give greater access to the collection.