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As a Christian, Dante adds Circle 1 (Limbo) to Upper Hell and Circle 6 (Heresy) to Lower Hell, making 9 Circles in total; incorporating the Vestibule of the Futile, this leads to Hell containing 10 main divisions. [26] This "9+1=10" structure is also found within the Purgatorio and Paradiso.
To prove Dante's description of the Sun being "joined to the horizon", Galileo interpreted this to mean that the diameter of hell's circle must be equal to the radius of the Earth. [1] This meant that the boundary of the roof on the west would pass through Marseille in France and through Tashkent in modern-day Uzbekistan on the east. [1]
Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530. The Divine Comedy is composed of 14,233 lines that are divided into three cantiche (singular cantica) – Inferno (), Purgatorio (), and Paradiso () – each consisting of 33 cantos (Italian plural canti).
Dante's orderly hell is a representation of the structured universe created by God, one which forces its sinners to use "intelligence and understanding" to contemplate their purpose. [15] The nine-fold subdivision of hell is influenced by the Ptolemaic model of cosmology, which similarly divided the universe into nine concentric spheres. [16]
Dante's orderly hell is a representation of the structured universe created by God, one which forces its sinners to use "intelligence and understanding" to contemplate their purpose. [17] The nine-fold subdivision of hell is influenced by the Ptolemaic model of cosmology, which similarly divided the universe into nine concentric spheres.
In Dante's version of Hell, categories of sin are punished in different circles, with the depth of the circle (and placement within that circle) symbolic of the amount of punishment to be inflicted. Sinners placed in the upper circles of Hell are given relatively minor punishments, while sinners in the depths of Hell endure far greater torments.
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The additional two illustrations of the Map of Hell and Lucifer lie outside this canto-text structure, thus providing an element of continuity which unifies the work. [26] Lucifer's second drawing by Botticelli from Inferno XXXIV spans across two pages, and lies outside the text-illustration structure, unifying the narrative of the series.