"But no Theban crazed with rage-
or Trojan - did ever seem as cruel
in rending beasts, much less human parts,
as did two pallid, naked shades I saw,
snapping their jaws as they rushed up
like swine charging from an opened sty.
The one came at Capocchio, set its tusks
into his neck, then dragged him
so his belly scraped the rock-hard ground.
And the Aretine, who stood there, trembling,
said to me:" That demon's Gianni Schicchi,
and in his rabid rage he mauls the others."
Canto XXX 22-33, Inferno
This painting portrays the Falsifiers of others' persons, a part of Hell where the shades literally tear at each other with their teeth. Here Gianni Schicchi, who has fraudulently usurped the identity of a dead man to steal his inheritance, savagely bites heretic and alchemist Capocchio.
Even though Hell is a dark, ugly place, Bouguereau has chosen to bathe these shades in a light that draws the eye to them and illuminates their magnificent physiques. There is boldness and great strength in this painting: the bulging muscles on Schicchi's back as he bends Capocchio backwards in a death grip remind me of a lion killing its prey; the intensity of Schicchi's knee jammed into the small of his rival's back conveys the rage he feels as does his grip on Capocchio's arm and the gouge of his torso. Although Capocchio appears overpowered, his right hand clenches Gianni's hair, letting us know that he is still in the fight.
The artist crosses aesthetic boundaries and instills this violent scenario with a certain beauty. Their positions and angles suggest a macabre ballet. Our line of sight is then drawn from the dominant foes to the shadows behind them where Virgil and Dante stand. Virgil looks ahead at something we can't see, while a mesmerized Dante stares at the savage rivalry holding Virgil much like a frightened child seeking refuge behind a guardian. A gloating, flying demon keeps watch in the fire-lit space above them; his left wing leads our eyes further into the shadows to rest upon a mountain of writhing, hapless souls. Finally, our vision returns to Shicchi and Capocchio; at their feet a shade lies immobile - most probably a victim of Gianni's "rabid rage."
I adore this painting...not only for its aesthetic value, but because I think Bouguereau clearly understands the essence of why The Divine Comedy is divine. He's discovered Dante's secret and emulated it by transforming what most people find repulsive into something beautiful. Bravo Mr. Bouguereau!
Works Cited:
Robert Hollander Dante Inferno. 2nd ed. New York: Randon, 2000. Print.
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