I hesitate to barge onto turf so deservedly commanded by the likes
of George and Ottfried, but one area that might yield interesting
results for your investigation of the reception of Dante's Commedia
in the 14th century is its considerable influence on paintings of the
Last Judgement, and particularly the Hell scenes commonly
accompanying them. The examples in Florence in the Strozzi Chapel in
S. Maria Novella by Nardo di Cione, and that in S. Croce by his
brother Orcagna both, I believe, were influenced by Dante, but
perhaps more interesting to you would be that in the Camposanto in
Pisa, in which a pope (you mentioned Celestine V, but I seem to
recall Nicholas V) is quite conspicuously included in Hell. I don't
have my library handy, but there are at least a couple of articles by
Joseph Polzer on the latter example, and there is an article in the
current Zeitschrift fur Kunstgeschichte by Janice Elliott which might
have more references.
Cheers,
Jim Bugslag
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