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2 See particularly the second book of the De vulgari Eloquio.
3 Purgatorio, XXXIII. 141. ‘That thing one calls beautiful whose parts answer to each other, because pleasure results from their harmony.’ (Convito, Tr. I. c. 5.) Carlyle says that ‘he knew too, partly, that his work was great, the greatest a man could do.’ He knew it fully. Telling us how Giotto's fame as a painter had eclipsed that of Cimabue, he takes an example from poetry also, and selecting two Italian poets,—one the most famous of his predecessors, the other of his contemporaries,—calmly sets himself above them both (Purgatorio, XI. 97-99), and gives the reason for his supremacy (Purgatorio, XXIV. 49-62). It is to be remembered that Amore in the latter passage does not mean love in the ordinary sense, but in that transcendental one set forth in the Convito,—that state of the soul which opens it for the descent of God's spirit, to make it over into his own image. ‘Therefore it is manifest that in this love the Divine virtue descends into men in the guise of an angel, .... and it is to be noted that the descending of the virtue of one thing into another is nothing else than reducing it to its own likeness.’ (Convito, Tr. III. c. 14.)
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