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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'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.
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 and Virgil visiting Hell, as depicted in Inferno, painted by Rafael Flores, 1855 New readers often wonder how such a serious work may be called a "comedy". In the classical sense the word comedy refers to works that reflect belief in an ordered universe, in which events tend toward not only a happy or amusing ending but one influenced by ...
The second circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno, the first part of the Divine Comedy. Inferno tells the story of Dante's journey through a vision of the Christian hell ordered into nine circles corresponding to classifications of sin; the second circle represents the sin of lust , where the lustful are ...
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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.