Venturino Camaiti’s Divine Comedy in 100 Satirical Sonnets


The Divine Comedy, narrated in 100 satirical sonnets composed in the Florentine vernacular, by Venturino Camaiti in 1921.

See the digital copy available through the University of Wisconsin Libraries here.

Contributed by Chiara Montera (University of Pittsburgh)

Ettore Ximenes’ 1921 statue, Meridian Hill Park (Washington, D.C.)

Ettore-Ximenes-Dante-Alighieri-Washington-Meridian-HillDante Alighieri stands in Meridian Hill Park in Washington, D.C.  Commissioned by Carlo Barsotti as a gift on behalf of “the Italians in the United States,” Italian artist Ettore Ximenes sculpted the monument in 1921, the 600th anniversary of the poet’s death.

The statue was included in the Smithsonian’s Save Outdoor Sculpture D.C. survey in 1994, and was featured in a 2014 Washington Post editorial called “Monument Madness,” where it lost to a statue of Jim Henson and Kermit the Frog in the Elite 8.

Contributed by Aisha Woodward (Bowdoin, ’07)


1000+ illustrations of the Commedia from Cornell University’s Fiske Dante Collection on Shared Shelf

1000-illustrations-of-the-commedia-from-cornell-universitys-fiske-dante-collection-on-shared-shelf “Dante Alighieri’s 14th-century epic poem Divina Commedia has had an incalculable impact on Western culture, not least through its inspiration of visual artists. After all, Dante’s descriptions of grotesque figures, fantastic landscapes, and inventive punishments virtually beg to be depicted visually.
Now anyone can view and download approximately 1,000 of these images from eleven editions of the poem published between 1487 and 1846 courtesy of Cornell University Library’s Divine Comedy Image Archive (DCIA). These images are available free in Shared Shelf Commons, the open-access library of images from institutions that subscribe to Shared Shelf, ARTstor’s Web-based service for cataloging and managing digital collections. The DCIA plans to make available a total of approximately 2,000 images from editions dating through 1921.”    —Artstor, November 7, 2012

Contributed by Emma Pyle (Bowdoin, ’12)