One of the strangest and most surreal moments in the thieves' compound. Dante and Virgil meet three Florentines, Agnello Brunelleschi, Buoso Donati and Puccio Sciancato. One of them asks where Cianfa is, at that moment, the condemned man appears in the form of a snake with legs, which coils tightly around Agnello until it merges with him, before the gaze of his companions and Dante and Virgil. From the result of this union, a creature that does not resemble any of the original forms emerges, and slowly moves away from the scene. Scholars have disagreements about the meaning of this scene. What is known, among the first commentators on the Divine Comedy, is that Agnello Brunelleschi used to disguise himself as a beggar when he was alive to commit his robberies. The transformation fact in the poem may be a reference to identity theft. Regarding Cianfa Donati, ancient commentators note that he was an active politician in Florence, known for practicing the theft of livestock and items in stores. His own family was known for these practices, earning the nickname "malefami" or "bad fame." In the description of the transformation, Dante does not offer further information about the condemned, his narration specifically concentrates on describing in great detail the transformation process of the condemned involved. The present interpretation attempts to capture the creature resulting from the strange union of Cianfa and Agnello. Full Gallery: www.deviantart.com/nykterios/g…
Acrophobia, derived from the Greek words "ákron," meaning peak or edge, and "phóbos," meaning fear, is the intense and irrational fear of heights. This phobia can provoke a wide range of symptoms, from mild anxiety to severe panic attacks, when an individual is either at a high place or simply thinking about being in such a situation. Unlike a rational fear of falling, acrophobia can be triggered even in secure environments where there's no real risk of falling. This condition is more than just an extreme fear; it is a psychological phobia that can significantly impact an individual's quality of life, limiting their ability to participate in various activities or even to stand near a window in a tall building. Understanding acrophobia involves exploring both the psychological aspects of fear itself and the evolutionary basis behind the human instinct to avoid high places, which might have historically served as a survival mechanism. Full Gallery: https://www.deviantart.com/nykterios/gallery/90554616/spectrum-of-fears-ai-interpreted-phobias-
The appearance of Cacus in the eighth circle of hell is sudden. It takes place immediately after the poets' encounter with Vanni Fucci. Cacus is shown running, asking for "the arrogant", referring to the condemned man. From the poem, it can be deduced that the centaur appears to punish Vannu Fucci, but there are no further elements to deduce whether he is a punisher or if he is a condemned. In the words of Virgil the story of Cacus and his punishment is summed up: "—Ese monstruo es Caco, el que al pie de las rocas del monte Aventino formó más de una vez un lago de sangre. No va por el mismo camino que sus hermanos, porque robó fraudulentamente el gran rebaño que pacía en las inmediaciones del sitio que había escogido por vivienda: pero sus inicuos hechos acabaron por fin bajo la clava de Hércules, que si le dió cien golpes con ella, aquél no llegó a sentir el décimo." Dante Alighieri, "La Divina Comedia", Hell, Canto 25, from the translation by Eduardo Gonzalez Lanuza, for the National University of Mexico, 1921. Full Gallery: www.deviantart.com/nykterios/g…
"The development of plastic art is determined by the will to visualize. Art of the past represented the subjective vision of 'naturalistic relationships'. Neo-Plasticism [=De Stijl] embodies a subjective vision of "plastic relationships"... Pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships and abstract lines, is revealed conceptually (as Reason) by Chinese, Greek and German philosophy, and aesthetically by contemporary Neo-plasticism." Theo Van Doesburg (1918), in his art-review, "Thought – Vision – Creation", published in art-magazine 'De Stijl' Vol ll, 2 December 1918. Full gallery: www.deviantart.com/nykterios/g…
In the intricate tapestry of Dante's "Inferno," the seventh trench of the eighth circle unfolds a realm of relentless punishment reserved for the thieves. This portion of Hell, as vividly detailed in Canto 24, subjects its damned to a horrifying fate: they are ceaselessly besieged by serpents and various reptilian creatures. These monstrous beings do not merely torment the souls but also possess the power to transform them, intertwining their essences with the damned, thereby erasing and remaking their forms in a grotesque cycle of eternal suffering. This punishment, emblematic of their earthly sins of theft and deceit, mirrors the thieves' violation of personal boundaries, as their very identities are stolen and reshaped by the serpents' touch. The hands of the thieves are tied with snakes, an ironic punishment for those who used their hands to steal what did not belong to them. Amidst this chaos and torment emerges Vanni Fucci, a figure shrouded in darkness and audacity, destined to be the next protagonist in the series. Fucci stands out as one of the most defiant and sinister characters within the depths of Hell, his presence a testament to the complex moral and theological themes Dante explores in his work. His introduction in this dreary landscape serves as a prelude to a narrative rich in symbolism and dark introspection, highlighting the profound consequences of human actions and the inescapable justice of the divine. "Bajamos por el puente desde lo alto hasta donde se une con el octavo margen; y entonces descubrí la fosa, y vi una espantosa masa de serpientes, de tan diferentes especies, que su recuerdo me hiela todavía la sangre. Deje la Libia de envanecerse con sus arenas; que si produce quelidras, yáculos y faras, cencros y anfisbenas, ni en ella, ni en toda la Etiopía con el país que está sobre el mar Rojo, existieron jamás tantas ni tan nocivas pestilencias como en este lugar. A través de aquella espantosa y cruel multitud de reptiles corrían gentes desnudas y aterrorizadas, sin esperanza de encontrar refugio ni heliotropo. Tenían las manos atadas a la espalda con sierpes, las cuales, formando nudos por encima, les hincaban la cola y la cabeza en los riñones." Dante Alighieri, "La Divina Comedia", Hell, Canto 24, from the translation by Eduardo Gonzalez Lanuza, for the National University of Mexico, 1921. Full Gallery: www.deviantart.com/nykterios/g…
A notable hypocrite of the enclosure is Caiaphas. Biblical character. Jewish high priest who leveled his accusation of heresy on Jesus Christ, which ended in his crucifixion. The Sanhedrin (supreme court of the Jews) convened an extraordinary session, in which Caiaphas mentions "it is fitting that one should die for the people and not perish the whole nation." But the news of Lazarus' resurrection alarmed the court. In the sect to which Caiaphas belonged, they did not believe in the resurrection of the dead. Their hypocrisy lies in having invoked the safety of the people when in reality, the presence of Jesus is an attack on their own belief. His punishment is to remain on the ground of the hypocrites' pit, crucified, while the other souls, in their constant march, tread on him. Full Gallery: www.deviantart.com/nykterios/g…
Let us remember, all the damned of the eighth circle of Hell in the "Divine Comedy" committed the sin of fraud, in different ways. The sixth enclosure is reserved for hypocrites, those who in life hid their true lives under deception. Their punishment is to march eternally carrying heavy cloaks, of gold on the outside and heavy lead on the inside, a symbol of the very nature of the hypocrites, who under appearances have concealed their true moral nature. Dante compares the cloaks of the condemned to those of the Holy Roman Emperor, Frederick II, whose habit was to punish those accused of lèse-majesté by placing layers of lead over them, and then throwing them into the fire. On the other hand, the poet also makes a comparison of the layers of the condemned with those of the certain monks of Cologne. As the story goes, there was once a greedy abbot who asked the supreme pontiff that everyone in his abbey wear luxurious and showy clothes, which infuriated the pope and ordered everyone to wear humble and poorly made clothes, made of rustic materials. "Abajo encontramos unas gentes pintadas, que giraban en torno con bastante lentitud, llorosas y con los semblantes fatigados y abatidos. Llevaban capas con capuchas echadas sobre los ojos, por el estilo de las que llevan los monjes de Colonia. Aquellas capas eran doradas por de fuera, de modo que deslumbraban; pero por dentro eran todas de plomo, y tan pesadas, que las de Federico a su lado parecían de paja. ¡Oh manto fatigoso por toda la eternidad! Nos volvimos aún hacia la izquierda, y anduvimos con aquellas almas, escuchando sus tristes lamentos. Pero las sombras, rendidas por el peso, caminaban tan despacio, que a cada paso que dábamos cambiábamos de compañero" Dante Alighieri, "La Divina Comedia", Hell, Canto 23, from the translation by Eduardo Gonzalez Lanuza, for the National University of Mexico, 1921.
Following the deceitful maneuver of Ciapolo of Navarre in the previous ditch, which culminated with two demons ensnared in the boiling pitch, Dante begins to harbor suspicions. It dawns on him that their pause to converse might have inadvertently provided Ciapolo the opportunity to hoodwink the demons. Amidst this realization, the demons commence their pursuit of Dante and Virgil. In a gesture as tender as a mother clasping her child, Virgil embraces Dante and swiftly descends a slope, a symbolic gesture marking their transition into the ditch of the hypocrites. This slope serves not just as a physical descent but as a metaphorical plunge into deeper moral degradation. As they navigate this transition, it becomes evident that the demons, by divine ordinance, are bound to guard the ditch of the deceivers and, therefore, cannot extend their chase beyond their designated realm. This limitation on the demons' pursuit underscores a divine order within the chaos of Hell, illustrating that even in punishment, there exists a boundary and order established by divine will. This moment of escape and descent not only highlights the protective bond between Dante and Virgil but also illustrates the complex interplay of free will, divine justice, and the immutable boundaries set within the infernal depths. Full Gallery: www.deviantart.com/nykterios/g…
