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style: but nothing can compare with what we have ourselves. The designs of Mr. Flaxman are of the noblest productions of art, and frequently display a sublime simplicity which is worthy of his great original. Indeed he, who is so able to transfer such creations from one fine art to another, seems of a mind but little inferior to his who could first conceive them. To borrow the words of an excellent Italian sculptor: ‘Mr. Flaxman has translated Dante best; for he has translated him into the universal language of nature.' : In undertaking this comment, I am conscious of setting out on a very uncertain enterprize. Life, much less health, no one can calculate on. Yet with these and the encouragement of the public, I shall continue cheerfully. To solicit such encouragement, I send forth the present volume: if it be accorded, a second volume may quickly follow. Protection shall (at least as far mortal vicissitude authorizes a promise) produce attention.

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Canto The Finst ( Introductory allegory)
• Lord of Verona and Luther (R)
CANTo The Second (Prologue)
Monarchia (E)
Beatrice (L)
CANto The Thian (Westibule)
Topography of Hell (A)
Celestine V. (L)
CANto The Fouath (Elysium, etc.)
Lucan (I)
Moors (w)
Canto The Firth (Lawless Love)
Francesca da Rimini (R)
CANto The Sixth (Intemperance )
Blacks and Whites (H)
Canto The Seventh (Avarice, etc.)
Hebrew (B)
Fortune (R)
Canto The Eighth (Anger)
Date of the Diving Comedy (A)

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