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Engraving by Baldini after Botticelli, from the 1481 book. The drawings in the manuscript were not the first to be created by Botticelli for the Divine Comedy.He also illustrated another Commedia, this time a printed edition with engravings as illustrations, that was published by Nicholo di Lorenzo della Magna in Florence in 1481, and is mentioned by Vasari.
Pages in category "Paintings based on works by Dante Alighieri" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes. B.
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).
Pages in category "Paintings of Dante Alighieri" The following 9 pages are in this category, out of 9 total. This list may not reflect recent changes. A.
Paradiso (Italian: [paraˈdiːzo]; Italian for "Paradise" or "Heaven") is the third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice , who symbolises theology.
The Divine Comedy by Dante Alighieri is an epic poem in Italian written between 1308 and 1321 that describes its author's journey through the Christian afterlife. [1] The three cantiche [i] of the poem, Inferno, Purgatorio, and Paradiso, describe Hell, Purgatory, and Heaven, respectively.
Giovanni di Paolo is known to have painted four altarpieces for chapels in San Domenic: Christ Suffering and Triumphant (early 1420s), the Pecci Altarpiece (1426), the Branchini Altarpiece (1427), and the Guelfi Altarpiece (1445) which included Paradise now in the Metropolitan Museum of Art, New York. [3]
The painting depicts events from canto eight of Dante Alighieri's Inferno, in which Dante is escorted across the River Styx by his guide, the classical poet Virgil. The City of the Dead burns in the background. A second version of the subject, c. 1853, is held by the Metropolitan Museum of Art in New York City. [1]
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