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Inside A Letter Box

Posts tagged dante:

Bartolomeu Velho, Figure of the heavenly bodies. 1568. An illuminated illustration of the Ptolemaic geocentric conception of the universe.
The ninth sphere — the Primum Mobile — was contained only by the mind of God, and constituted all of physical creation and space.  Unchanging, it is the structure in which all change is framed.  It is the outermost limit of the universe, and the beginning of creation. The spiritual motion of intention or love creates physical motion. 

Light and love enclose it in one circle As it does all the rest, and this enclosing He alone who circles it can comprehend.
Its motion is not measured by another’s, But this sphere sets the others into motion, As ten is factored into five and two.

— Dante Alighieri, Paradiso, Canto XXVII, l. 112-117. 

Bartolomeu Velho, Figure of the heavenly bodies. 1568. An illuminated illustration of the Ptolemaic geocentric conception of the universe.

The ninth sphere — the Primum Mobile — was contained only by the mind of God, and constituted all of physical creation and space.  Unchanging, it is the structure in which all change is framed.  It is the outermost limit of the universe, and the beginning of creation. The spiritual motion of intention or love creates physical motion. 

Light and love enclose it in one circle
As it does all the rest, and this enclosing
He alone who circles it can comprehend.

Its motion is not measured by another’s,
But this sphere sets the others into motion,
As ten is factored into five and two.

— Dante Alighieri, Paradiso, Canto XXVII, l. 112-117

(Source: Wikipedia)

E quella sì lontana
come parea, sorrise e riguardommi;
poi si tornò a l’etterna fontana.

And she, however far away
she seemed, smiled and looked down at me,
then turned again to the eternal fountain.

— Dante Alighieri, Paradiso XXXI 91-93. transl. Robert Hollander and Jean Hollander, 855, 2007.

Elisabetta Sirani, Portrait of Beatrice Cenci. c. 1662.  Oil on canvas, 64.5 x 49 cm. 

Elisabetta Sirani, Portrait of Beatrice Cenci. c. 1662.  Oil on canvas, 64.5 x 49 cm. 

(Source: wga.hu)

Sandro Botticelli, Wood of Suicides. c. 1480, pen and ink on vellum. 

Sandro Botticelli, Wood of Suicides. c. 1480, pen and ink on vellum. 

(Source: danteworlds.laits.utexas.edu)

Auguste Rodin, La Porte de l’Enfer, Fugit Amor (The Gates of Hell, Fugitive Love). (detail). 1880-1917. Bronze.  

Auguste Rodin, La Porte de l’Enfer, Fugit Amor (The Gates of Hell, Fugitive Love). (detail). 1880-1917. Bronze.  

Auguste Rodin, Fugit Amor (Fugitive Love). 1881-1887(?).  Recast in 1969. Bronze. 

Auguste Rodin, Fugit Amor (Fugitive Love). 1881-1887(?).  Recast in 1969. Bronze. 

Auguste Rodin, Fugit Amor (Fugitive Love), 1881-1886 (?), marble. 

Auguste Rodin, Fugit Amor (Fugitive Love), 1881-1886 (?), marble. 

Auguste Rodin, Paolo et Francesca. Executed in 1887; recast by Emile Godard in 1988. Bronze.  

Auguste Rodin, Paolo et Francesca. Executed in 1887; recast by Emile Godard in 1988. Bronze.  

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