In Filippo Bigioli’s Lucifer in the Giudecca the three figures being gnawed by Lucifer are drawn directly from Dante’s Inferno, where Satan is described with three mouths eternally chewing the worst traitors in human history. In Dante’s vision these three sinners are Judas Iscariot, the apostle who betrayed Christ; Brutus, one of the main conspirators in the assassination of Julius Caesar; and Cassius, who also participated in that conspiracy. To Dante the betrayal of Caesar represents the ultimate betrayal of secular order just as Judas represents the ultimate betrayal of divine trust, and these three are placed in the deepest part of Hell, the Giudecca, as the greatest sinners against benefactors.
- Title Lucifer in the Giudecca (Lucifero nella Giudecca) — sketch 17 of the Galleria Dantesca
- Artist Filippo Bigioli (Italian Neoclassical painter and engraver; San Severino Marche, 4 June 1798 - Rome, 1878)
- Year of creation c. 1859-1860 (sketch no. 17 of the Galleria Dantesca, a cycle of 27 — now 28 — scenes from Dante's Divine Comedy commissioned to Bigioli in 1854 by Cavaliere Romualdo Gentilucci of Fabriano. The large finished canvases derived from these sketches were painted around 1861 in "finto arazzo" technique with vegetable pigments on raw unprimed canvas, first exhibited at the Palazzo Altieri in Rome and later sent on tour to London. This scene illustrates Canto XXXIV of the Inferno — the last canto of the first cantica — where Dante and Virgil reach the bottom of the Ninth Circle of Hell, the Giudecca, the frozen lake of Cocytus, and encounter Lucifer half-buried in the ice, his three faces eternally chewing the three greatest traitors in history: Judas Iscariot, betrayer of Christ, in the central red mouth; and Brutus and Cassius, conspirators against Julius Caesar, in the side mouths. The 28th sketch was rediscovered by chance in 2022 in the municipal deposit at Palazzo Servanzi Confidati)
- Technique/Medium Oil on canvas (preparatory sketch / bozzetto)
- Original dimensions Not publicly documented for the small oil sketch held at San Severino Marche (the related lost finished canvas measured approximately 600 x 400 cm)
- Collection/Museum Galleria Comunale d'Arte Moderna "Filippo Bigioli", Palazzo Comunale, San Severino Marche, Italy (temporarily relocated to the Pinacoteca civica "P. Tacchi Venturi" since the 2016 Central Italy earthquake)
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Okay, let me start by saying this is my favorite painting of all time. I love skulls. I am beyond thrilled to own this piece and show it off to all who enter! I cannot believe this was painted in 1533.. It stirs me. 10/10 piece. Easy. I am attaching two photos of the upper left corner where the crucifix lies hidden in plain sight. I am disappointed that the wrap of the canvas wasn't very tight on this one. Because of the loose wrapping.. you can clearly see that the crucifix is mirrored from the printing job and it kind of ruins that corner of the piece because it is a detail you aren't suppose to notice right away. Unfortunately it sticks out in plain view. I plan to take black paint and just tape off the edge and fill the outer edge so the crucifix has a proper corner to inhabit. Although, I am hesitant to try and alter something so expensive.. Not sure what to do.
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Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
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We made our first purchase from Inspiraggio, The Beheading of St John the Baptist | Caravaggio | 1608. We absolutely love it. The quality and framing are amazing. It changes the whole room. Thanks!!!
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Very pretty. I knew I had to have 'Vanity' when I saw it. 'The Great Red Dragon...' is... great as well. Both quality prints, really like how they look in my apartment.
It's a masterpiece! It really fits the horror theme of my office room. It scares my wife but that what I was going for. I will definitely order more photos, not just for me but as gifts as well. I already have "the laughing fool" picture on the way. Thank you guys
Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
Super Qualität. Bin sehr zufrieden, der Rahmen ist auch makellos.
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Very poorly packaged—thin cardboard; I don't know how it survived shipping. The stretcher frame is too weak, leaving the canvas sagging and barely taut; at least one extra crossbar needs to be added to get the tension up to an acceptable standard. Check pictures, description diameters for package was overestimated few cm.
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I begin this review by recognising Inspiraggio’s excellent customer service. When one of two prints I ordered around the same time became delayed (the post office having dallied, misplaced it, or simply needed a kick up the whatsie), I contacted their team. They were straight onto it, offering to replace the print if it failed to arrive. They then contacted their courier, who in turn got in touch with Australia Post, and the package was delivered promptly. Throughout the process Inspiraggio’s staff kept me informed, and I could not rate their dedication to the customer any higher. Now to the prints themselves. Caspar David Friedrich’s best-known work is Wanderer above the Sea of Fog, yet here I chose Abbey in the Oakwood for its mood and tones. I am drawn to pieces that are stark, mysterious and dark. Is it a meditation on permanence, or does it simply resonate with those who value solitude? Who can say. Either way, it is a wonder. It also complements another piece I purchased from Inspiraggio after being introduced to the little-known Belgian artist Léon Spilliaert: Faun by Moonlight. Again the tones are dark, and it speaks directly to the somnambulist in me. Mysterious, haunting and evocative, it offers a quiet solace to those of us primed for solitude.
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I have Inspiraggio’s YouTube channel to thank for most of the artwork I’ve purchased since I began collecting prints. This time I splurged on Elihu Vedder’s The Questioner of the Sphynx as a 12 × 9 framed canvas. Living in a small studio apartment means space is limited, but careful space management has let me keep expanding the collection by downsizing when necessary. Would I prefer the largest canvas available? Of course. Yet the impact is far from lost at this scale. The painting speaks to me through its existential symbolism. Not far from the questioner’s feet lies the skull of another seeker. Lately I’ve begun to wonder what question is actually being asked—whether it concerns existence itself, or simply the origins of the Sphinx—because the unanswered question is what continues to plague the seeker.
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Allegory of Satan (Lord of the World) | Ludwik Stasiak | c. 1900
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