![]() This, the first post, addresses the image of Dante. The second piece (to be posted later in the year) will consider illustrations to the Divine Comedy between the sixteenth and the twenty-first century. Both posts focus on the iconography of Dante, as this is represented in particular in the collections of the Ashmolean Museum and of the Taylor Institution Library in Oxford. This is the first of two short pieces deriving from those seminars. ![]() Oxford bears rich traces of this visual culture.Įarlier this year, the Ashmolean Museum’s Print Room hosted two seminars - one for the University’s Dante Society, the other for the Print Research Seminar - at which works in the collections of the Ashmolean and the Taylor Institution Library were presented and discussed. ![]() Yet the cult has had more extensive visual dimensions than its devotees may have realised (or wished to acknowledge). The intellectual preoccupation has been overwhelmingly literary and textual. ![]() The University’s Dante Society was set up in 1876 (thirteen years before the foundation of the Dante Alighieri Society in Italy), and has provided a focus for the reading and discussion of his work ever since. ![]() Oxford’s dedication to Dante is deep-rooted. This blog was originally posted on The Bodleian Website on 22 November 2017. ![]()
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