Abstract
This article illuminates John Flaxman’s edition of Atlante Dantesco, edited by Antonio Fortunato Stella and Filippo Pistrucci (Milan, 1822), on the background of Nineteenth-century’s Dantean reception. As engraver of Flaxman’s illustrations to Divine Comedy, Pistrucci created a complex icon-text (like Cultural Studies theorized), adding seven new subjects into the original Neoclassical cycle. This unrecognized edition of Divine Comedy represents, besides its paraextual choices, an emblematic instance of classical treatment (with ancillary problems, concerning visual and textual background; editorial output; problematic dialectic between ‘original’ and ‘copy’, between history of the book and material culture), overcoming the traditional duality between Neoclassicism and Romanticism into two different meanings of Primitivism, a Neoclassical one, and a Medieval one.
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