Abstract

The essay examines the portraits of Foscolo, focusing on the engravings in the opening of the various editions of Ortis, following in almost twenty years, and noting how his figure was in the times outlined and modified, also considering the creation by the author of other secondary characters in turn representing his "alter ego". In addition, through the study of Foscolo's epistles, the essay tries to reconstruct the story of all his remaining portraits, pointing out how the author felt the need to build a self-defined image, ideal rather than real.