Of the several hundreds of manuscripts of Dante’s Divine Comedy, about a hundred have some illumination or decoration, drawn or painted. Of these, London British Library Harley MS 3460 is a remarkable specimen. The manuscript contains illustrations of the scenes covering cantos 1-20 of Inferno, drawn in plummet in the lower part of the page. The manuscript was copied, and possibly illustrated, by Martin de Bonsegnoribus in Milan in 1469. We know this from the colophon where Martin gives us his name and the year he completed the manuscript.
What is, I think, unique about these drawings is that the artist depicts most of the souls in Hell as sexless human beings without hair, closely resembling little children. The nondescript quality of these wretched multitudes is, of course, in line with Dante’s theological insight, that the self in Hell is diminished in its being, a bodily shadow of its former self. A kind of eternity in peius is therefore brought out through this simple drawing technique.
Harley MS 3460 hasn’t been digitized. A detailed description of its content and characteristics is now being being prepared at the British Library through a project in which I take part. As the manuscript won’t see the digital light of day any time soon, I thought it might be a good idea to include the complete set of drawings in this blogpost. The figurative scenes extend from the moment Beatrice sends Virgil to guide Dante through Hell in canto 1 of Inferno down to the sorcerers and astrologers in the 8th circle, canto 20:
As I inclined my head still more, I saw
that each, amazingly, appeared contorted
between the chin and where the chest begins;
they had their faces twisted toward their haunches
and found it necessary to walk backward,
because they could not see ahead of them.
Please scroll down for 26 images.