Efforts to transport you to the time of the Renaissance.

Historical artwork from European Renaissance paintings. 

Interview with Sandro Botticelli on **La Mappa dell'Inferno. 

Episode one.

Interviewer: Maestro Botticelli, it is an honour to chat with you. To begin, what drove you to work on La Mappa dell'inferno? Did Lorenzo di Medici affect this decision?

Botticelli: Thank you for the warm remarks. My trek to Dante's Inferno was inspired and commissioned by Lorenzo de Medici, my patron and a vigorous art promoter. Lorenzo liked Dante Alighieri's work, so he encouraged me to begin drawing The Divine Comedy. Lorenzo's intellectual enthusiasm was infectious, and he considered Dante's vision critical to our knowledge of human virtue and evil. The task of depicting such deep and nuanced images was alluring.

Interviewer: How did Dante's portrayal of the Circles of Hell shape your approach to La Mappa dell'Inferno?

Botticelli: Dante's lines are as vivid as paintings. His depictions of the Circles of Hell elicit horror and a weird, austere beauty. The poet's ability to depict the moral and metaphysical order via realistic punishment and reward was a motivating factor. I converted his thoughts into a visual language that stayed true to his nuanced ideas, with each stroke and shadow aiming to mimic the exquisite mix of terror and wonder he created.

Interviewer: How did the composing concept come about? Did your attitude about the job change?

Botticelli: The composition took shape while I submerged myself in Dante's book. The spiral fall of Hell, the gradations of sin, and the moral geometry imposed by divine justice were prominent beginning points. Initially, I was intimidated by the enormity of the assignment. However, as time passed, I began to feel a sense of purpose. Each panel addressed the soul's journey from despair to salvation, and my mindset changed from dread to adoration.

In some instances, patron demands may serve as diversions. Although the weight of expectation seemed overpowering, Dante's vision always drew me back in.

Interviewer: How was life in the city where you worked on this parchment? What were the locals chatting about?

Botticelli: Ah, Florence! A city full of beauty and mystery. During the period, the Medici's impact was both beneficial and divisive. Politics and power battles were omnipresent. The townspeople discussed Lorenzo's and his opponents' actions, Savonarola's most recent lectures, and the magnificent shows and feasts. In our streets, art and scandal were inextricably linked.

Interviewer: Did the Medici patronage impede or aid you in your endeavour?

Botticelli: Lorenzo's sponsorship was both a benefit and an obligation. His backing allowed me to pursue work like La Mappa dell'Inferno, but it also came with expectations. His keen eye and unquenchable curiosity presented hurdles but eventually boosted my work.

Interviewer: Who was your inspiration throughout this time?