![]() In Inferno 16 he meets Guido Guerra, Tegghiaio Aldobrandi, and Jacopo Rusticucci, who form a spinning circle as they ask for news about Florence and to be remembered to those they knew on earth. In Inferno 15 he pauses to talk to his old mentor, Brunetto Latini, who is condemned like all the sodomites in hell to perpetually run across burning sands under a fiery rain on the third tier of the seventh circle. The Pilgrim encounters sodomites in three cantos. Unlike many other reference works, however, this one will have an overall thesis that is implicit in each entry, explicit at the end of my paper, and, as is warranted by an open-ended study, flexible. I will take advantage of my electronic medium to devote as many or as few words as necessary to each subject, continue to add to this database as I discover important new examples, and not hesitate to repeat myself from one entry to the next. In each case, I will analyze the visual treatment of the sodomites and then attempt to relate that response to the artist’s immediate circumstances and to the history of Dante illustrations. After giving a brief introduction to Dante’s characterization of these sinners, and quickly recapping Stowell’s work, I will chronologically discuss each artist’s response to the sodomites, beginning with Jan van der Straet’s drawings from 1586-88. My paper will therefore pick up where Stowell leaves off and attempt to address every major post-Botticelli illustration of the sodomites. ![]() And though Jonathan Katz’s “The Art of Code: Jasper Johns and Robert Rauschenberg” and Laura Auricchio’s “Lifting the Veil: Robert Rauschenberg’s Thirty-Four Drawings for Dante’s Inferno and the Commercial Homoerotic Imagery of 1950s America” spend more time on Inferno 15 and 16 than their titles might indicate, they do indeed discuss many other images. ![]() In “The Pose of the Queer: Dante’s Gaze, Brunetto Latini’s Body,” Michael Camille focuses on a single fourteenth-century miniature in Musée Condé MS 597. In “Visualizing the Sodomites in Dante’s Commedia,” Steven Stowell broke important new ground by comparing how fourteenth- and fifteenth-century illuminators portray the sinners in Inferno 15-16 and Purgatorio 26, but he stops with Botticelli. Post-Medieval Illustrations of Dante’s SodomitesĪlthough Dante’s sodomites have attracted a great deal of attention, illustrations of them have not, especially if those images could be considered post-medieval. ![]()
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