By: Loraine Fanunal

Dante’s Divine Comedy is an important piece of Italian literature that has transcended time, influencing literature, art, music, etc. As I have implied earlier this piece of literature's influence extends past literature and Italy, its origin country. Dante explores the three realms of the afterlife, Inferno, Purgatorio and Paradiso, all the realms of which are seen portrayed in various paintings and pieces of art. In this essay, I will specifically be looking at pieces of art from two periods of time, Renaissance (1450-1600) and Baroque (1600-1750)^[1]. I chose a wide range of time when picking out various pieces of art because it’s easy to say that Dante had influence when picking from a small sample size. It’s easier to visualize the range of influence Dante’s Divine Comedy has when looking at various notable pieces of art throughout history. We’ll be looking at pieces from Sandro Botticelli, Johanes Stradenus and Gian Lorenzo Bernini. All of these artists have created pieces of art with direct nods to Dante’s Divine Comedy, or have similar themes and messages.

Botticelli, Sandro. “Map of Hell”

The image above is a piece of art by Sandro Botticelli, an Italian painter in the Early Renaissance, also from Dante Alighieri’s home city of Florence. Commissioned by Lorenzo Medici, it is said that, “he was a master of poetic imagination.”^[2] He produced a detailed and imaginative illustration of Dante's Inferno known as the "Map of Hell." Completed around 1480, Botticelli's map visually interprets Dante's vision of the afterlife with meticulous attention to detail. The influence of Dante is evident in the way Botticelli weaves classical mythology into the Christian narrative, creating a harmonious fusion of the two worlds.

From a historical context, I found it interesting that this piece of art was commissioned by the Medici court, a very powerful family in Florence, the very city that Dante Alighieri was exiled from. I think the fact that this piece of work was commissioned in the first place is a testament to Dante’s influence over Italy, that the commission of these works can be seen as “atonement,” for isolation from Florence.

Looking at the piece of art itself, visually it translates Dante’s art beautifully, showing a meticulous picture of the geography that the author himself visualizes for Inferno. Taking a closer look at the different circles of hell, Botticelli is able to weave Greek Mythology and Christianity together seamlessly^[3], effortlessly translating Dante’s own themes of the different beliefs shown through his writings. I found that this piece really helped me visualize what Dante was trying to achieve in terms of the geography of the different realms. The portrayal of sin, punishment and redemption is powerful.

Stradenus, Johanes. “Inferno Canto VIII”

        Also known as Jan van der Straet, he is a Flemish artist that created a series of illustrations conveying the different cantos of Inferno. This specific piece is from the early Baroque period, and while it isn’t typically the type of painting that I would imagine when I first think about this period of art, it encapsulates the standards of the period with it’s meticulous detail, drama, richness and emotion^[4]. This specific piece of art does a good job of displaying the distance in which Dante’s influence reached. Stradanus's works demonstrate that Dante's vision was not confined to a specific country or culture. resonating with artists beyond Italy. His engravings, with their meticulous detail and engagement with moral and allegorical themes, contribute to the broader visual legacy inspired by Dante's literature.

        Compared to Botticelli’s “Map of Hell,” Stradenus provides a closer look at the events that occurred during Inferno, specifically Canto 8. Personally, as a reader I find it difficult to visualize events in written form, regardless of author, genre, etc. I thought Stradenus’ piece, like Botticelli’s, provided a good way to visualize the world Dante is trying to create. Unlike Bernini’s sculpture (shown in the next image), Stradenus stays true to the events of the book.

Bernini, Gian Lorenzo. “Ecstasy of Teresa”

        Gian Lorenzo Bernini is a notable Italian architect, a pioneer in the Baroque period of art. Unlike the previous piece, Bernini’s “Ecstasy of Teresa,” is what I would typically imagine when thinking about this specific period of time in art history. The Catholic Counter-Reformation also played a significant role in shaping Baroque art^[5], emphasizing the use of visual spectacle to elicit powerful emotional responses. Looking at the sculpture with a surface level interpretation, it doesn’t seem like it holds a lot of commonalities with Dante’s Divine Comedy, nor does it share many similarities with other pieces of art interpreting the Divine Comedy. Dante's vivid descriptions of suffering and ecstasy found a natural resonance with the Baroque sensibility. I found that this sculpture helped me visualize, broadening my understanding of the depth of human emotion that comes with divinity and spirituality, seen all throughout Paradiso.

In conclusion, Dante Alighieri’s influence spans across time and geographical boundaries. Not only do the different pieces of art help the reader interpret the events of Dante’s Divine Comedy, they provide a new perspective and help spread Dante Alighieri’s influence further. As a reader of the Divine Comedy, looking at each piece of art helped me visualize the events throughout Inferno, Purgatorio and Paradiso, as well as understanding the emotion behind Dante’s words. As artists across time and regions engage with the themes of spirituality, divinity and human condition, a visual legacy is created, speaking to the timeless influence of Dante Alighieri.

Works Cited

“Art History Timeline: Western Art Movements and Their Impact.” Invaluable, 16 Mar. 2023, www.invaluable.com/blog/art-history-timeline/.

Avery, Charles, and David Finn. Bernini: Genius of the Baroque. Thames & Hudson, 2006.

“The Baroque Style · V&A.” Victoria and Albert Museum, www.vam.ac.uk/articles/the-baroque-style. Accessed 13 Dec. 2023.

Kemp, Martin. “Sandro Botticelli.” Visions of Heaven: Dante and the Art of Divine Light, Lund Humphries, London, 2021.

Krďma, Ed. Rauschenberg / Drawing a Modern Inferno. Yale University Press, 2017.

Nobus, Dany. “The sculptural iconography of feminine jouissance: Lacan’s reading of Bernini’s Saint Teresa in Ecstasy.” The Comparatist, vol. 39, no. 1, 2015, pp. 22–46, https://doi.org/10.1353/com.2015.0019.