that he was a notary by profession. I have also seen it somewhere asserted (though where I cannot recollect, and am sure no authority was given), that he was a cousin of Dante. We may equally infer him to have been the Lapo mentioned by Dante in his treatise on the Vulgar Tongue, as being one of the few who up to that time had written verses in pure Italian.
Dino Frescobaldi's claim to the place given him here will not be disputed when it is remembered that by his pious care the seven first cantos of Dante's Hell were restored to him in exile, after the Casa Alighieri in Florence had been given up to pillage; by which restoration Dante was enabled to resume his work. This sounds strange when we reflect that a world without Dante would be a poorer planet. Meanwhile, beyond this great fact of Dino's life, which perhaps hardly occupied a day of it, there is no news to be gleaned of him.
Giotto falls by right into Dante's circle, as one great man comes naturally to know another. But he is said actually to have lived in great intimacy with Dante, who was about twelve years older than himself; Giotto having been born in or near the year 1276, at Vespignano, fourteen miles from Florence. He died in 1336, fifteen years after Dante. On the authority of Benvenuto da Imola (an early commentator on the Commedia), of Vasari, and others, it is said that Dante visited Giotto while he was painting at Padua; that the great poet furnished the great painter with the conceptions of a series of subjects from the Apocalypse, which he painted at Naples; and that Giotto, finally, passed some time with Dante in the exile's last refuge at Ravenna. There is a tradition that Dante also studied drawing with Giotto's master Cimabue; and that he practised it in some degree is evident from the passage in the Vita Nuova, where he speaks of his drawing an angel. The reader will not need to be reminded of Giotto's portrait of the youthful Dante, painted in the Bargello at Florence,
