113 Purgatory, Seventh terrace – Dante and Virgil observing the fate of the Lustful Divina Commedia (1444-1450)

The scene unfolds within a landscape dominated by undulating hills and a turbulent sky. A band of figures occupies the central foreground, their forms seemingly caught in a perpetual whirlwind. They are depicted nude, their bodies contorted in postures that suggest both suffering and an inescapable momentum. The ground beneath them is rendered in shades of red-brown, evoking a sense of heat and unrest.
Flanking this group on either side stand two figures, distinguished by their attire and demeanor. One, clad in a vibrant blue robe, gestures towards the swirling mass with a contemplative air. Beside him, another figure, draped in a pink garment and sporting a long beard, observes the scene with an expression of solemnity. Their positioning suggests they are observers, detached from but acutely aware of the torment unfolding before them.
The upper portion of the composition is divided between a dark blue sky studded with stars and a luminous golden orb – likely representing the sun or a celestial body. The contrast between these elements reinforces the sense of a liminal space, a transition zone between earthly suffering and divine light. A rocky outcrop on the right side provides a visual anchor, its presence suggesting a pathway or ascent beyond the immediate turmoil.
The subtext of this depiction appears to concern the consequences of unchecked desire. The whirling figures embody the restless nature of lust, their nudity symbolizing vulnerability and exposure. Their constant motion implies an inability to find peace or stability. The observers’ posture – one gesturing in explanation, the other observing with gravity – suggests a didactic purpose; they are meant to convey understanding and perhaps offer a cautionary lesson about the perils of earthly passions.
The overall effect is one of controlled chaos, where suffering is presented not as random brutality but as an inevitable consequence of moral failing. The composition’s structure – the swirling figures contained within a defined landscape – implies that even in torment, there exists a framework of order and judgment.