The Divine Comedy by Dante Alighieri, better known as Dante for short, is one of the legendary epic poems from the fourteenth-century Italy that still has lasting impact on literature today. Divided into three parts, the Inferno comes first and is possibly the most notable part of the series. Sandro Botticelli illustrated various scenes from the Divine Comedy, including the depiction of Canto XVIII, which is the first two trenches of the eighth circle of Hell found in the Inferno. Sandro Botticelli’s rendition of canto XVIII of the eighth circle of Hell includes hints of humanism, neoplatonism, and comic-like style that draws the viewer’s eye. Botticelli is able to capture the torment Dante detailed and gives the audience a haunting reference depiction in order to fully grasp what was happening in the scene.
In order to understand the context of Sandro Botticelli’s rendition of Canto XVIII from the Inferno, one most note the historical context behind the painting. Botticelli painted ninety-two illustrations from Dante’s Divine Comedy in the late fifteenth century, most being done in the 1480’s (Watts 163). Botticelli would start each drawing off by using a metal stylus and then going over those lines with pen (Watts 163). Of the ninety-two illustrations made for the Divine Comedy, only four of those were painted fully using tempera (Watts 163). Included in those four with tempera is the painting of Canto XVIII that is being discussed here. The history behind the various paintings depicting scenes from the Divine Comedy can be better understood by reading all three parts to the epic poem. The Divine Comedy was created by Dante Alighieri, a famous Italian poet alive during the thirteenth and fourteenth centuries. In summation, the Divine Comedy is comprised of the Inferno, Purgatorio, and Paradiso. The poem details the journey of Dante and Virgil through hell, purgatory, and then paradise. In regards to the painting Canto XVIII being examined in this essay, that canto is a part of the Inferno. Canto XVIII is specifically a part of the eighth circle of hell, called Malebolge (Alighieri 1308-1320) This circle of hell is designated for those that have committed fraud (Alighieri 1308-1320. Malebolge is divided into ten trenches with ridges that separate each one(Alighieri 1308-1320 . Canto XVIII of the Inferno describes the first two trenches found in Malebolge. Historically, both the poem and the painting reflect humanistic and neoplatonic ideas. The idea of heaven and hell is largely religious, as well as demons. The belief that someone will go to hell for sinning plays a huge part in the Christian religion, and the Inferno is where those that have sinned end up. Those being tormented by demons and engulfed in excrement in the first two trenches of the eighth circle are all naked, which is another neoplatonic trend. As talked about in class, the revival of neoplatonism made being nude in paintings acceptable, so without neoplatonism, society would disapprove of this painting.
While examining the painting, the viewer will notice both Dante and Virgil redrawn over and over again descending the right side of the painting (Botticelli, 1480’s). This style of painting is comic-like, as it shows Dante and Virgil moving throughout the painting. This would be considered the focal point of the painting. Sandro Botticelli has used this painting technique in other paintings, like La Historia de Nastagio delgi. This technique makes it look like Dante and Virgil are active. Dante and Virgil are dressed in bright colors, as opposed to those being punished in the trenches (Botticelli, 1480’s). The first trench has the souls of panderers and seducers being chased by demons with whips (Botticelli, 1480’s). Each demon wields a whip and has its arm positioned in the air (Botticelli, 1480’s). The second trench has flatterers in it who are stuck in a ditch of excrement(Botticelli, 1480’s). The souls must swim in the excrement as their punishment. Since Botticelli drew both Dante and Virgil over and over again along the right side, it looks as though they are moving by the first two trenches and examining those that are being tortured. The way Dante and Virgil are painted make them look enthused and disturbed at the same time. Botticelli used sharp lines to form the path Dante and Virgil take and one can see the outlined ridges that separate the first two trenches of souls. All those being tortured look almost identical. Botticelli added facial features to some of the souls and gave some pronounced muscles. None of them have clothes on and they are all pale, as opposed to the brightly clothed Dante and Virgil (Botticelli, 1480’s). All forms seem to be interacting with each other. Dante and Virgil walk close together for the most part as they look over the trenches. The tortured beings are either being chased by demons or swim in excrement next to one another. While viewing the painting, the viewer can see the pain and fear that the souls have to endure nonstop. Sandro Botticelli painted twelve other illustrations of the eighth circle of hell, specifically the other eight trenches, but his painting of the first two trenches seems to be the most well-known.
127 our experts are availableright now
Sandro Botticelli brought to life Dante’s well-known epic poem called the Divine Comedy. Of the ninety-two illustrations he made, only four were painted over, including Canto XVIII. Botticelli incorporated the use of humanism, neoplatonism, and comic style to draw the viewer’s attention. Neoplatonism and comic style are the more heavily implied techniques used as the whole idea of Dante’s Divine Comedy is based upon the belief of heaven and hell and Canto XVIII exhibits Dante and Virgil in various stages of movement. Thanks to Sandro Botticelli, the viewer is able to not only read the epic poem, but also experience the disturbing images, as well.
