Castigo Collection

Inferno, Canto 7 : Virgil shows Dante the souls of the wrathful in the Styx
GIA745738 Inferno, Canto 7 : Virgil shows Dante the souls of the wrathful in the Styx, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Apollo and Marsyas (oil on canvas, 1618. )
LRI4607208 Apollo and Marsyas (oil on canvas, 1618.) by Guercino (Giovanni Francesco Barbieri) (1591-1666); Palatine Gallery, Pitti Palace, Florence; (add.info.: Apollo and Marsyas)

Punishment of the Miser and the Wrathful and Satan devouring Judas, Brutus and Cassius
6365884 Punishment of the Miser and the Wrathful and Satan devouring Judas, Brutus and Cassius, fragment from the cycle of detached frescoes The Triumph of Death, Last Judgement and Hell

Punishment of the Lustful, fragment from the cycle of detached frescoes The Triumph of Death, Last Judgement and Hell
6365885 Punishment of the Lustful, fragment from the cycle of detached frescoes The Triumph of Death, Last Judgement and Hell, c.1350 (detached fresco) by Orcagna

The punishment of Sodom (Lot and the two angels), Byzantine mosaic, XII-XIII century, on the counter-facade (mosaic)
6166321 The punishment of Sodom (Lot and the two angels), Byzantine mosaic, XII-XIII century, on the counter-facade (mosaic) by Byzantine

Punishment of the Lustful; Punishment of the Miser and the Wrathful and Satan devouring Judas
6365886 Punishment of the Lustful; Punishment of the Miser and the Wrathful and Satan devouring Judas, Brutus and Cassius; Lucifer clutching two Giants and Antenor

Inferno, Canto 29 : The forgers tormented in the valley
GIA745685 Inferno, Canto 29 : The forgers tormented in the valley, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 6 : The gluttons battered by eternal rain
GIA745735 Inferno, Canto 6 : The gluttons battered by eternal rain, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 5 : The soul of Francesca Da Rimini speaks to Dante
GIA745731 Inferno, Canto 5 : The soul of Francesca Da Rimini speaks to Dante, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 15 : Brunetto Latini accosts Dante, illustration from
GIA745703 Inferno, Canto 15 : Brunetto Latini accosts Dante, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 21 : Devils torment the barrators, illustration from
GIA745710 Inferno, Canto 21 : Devils torment the barrators, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 7 : The souls of the avaricious and the prodigal forced to roll heavy
GIA745737 Inferno, Canto 7 : The souls of the avaricious and the prodigal forced to roll heavy stones, illustration from The Divine Comedy by Dante Alighieri

Inferno, Canto 5 : Francesca Da Rimini describes her death
GIA745733 Inferno, Canto 5 : Francesca Da Rimini describes her death, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 18 : Devils and seducers, illustration from The Divine Comedy
GIA745706 Inferno, Canto 18 : Devils and seducers, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

The ostracism of Aristides the Just (c530-c468 BC), ancient Greek (Athenian
XEE557428 The ostracism of Aristides the Just (c530-c468 BC), ancient Greek (Athenian) soldier and statesman. by French School

Inferno, Canto 18 : Paramours and flatterers in the eighth circle
GIA745707 Inferno, Canto 18 : Paramours and flatterers in the eighth circle, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 24 : The thieves tormented by serpents, illustration from
745693 Inferno, Canto 24 : The thieves tormented by serpents, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 30 : The torment of the forgers in the ninth bolgia (Gianni Schicchi)
GIA745687 Inferno, Canto 30 : The torment of the forgers in the ninth bolgia (Gianni Schicchi), illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 29 : The falsifiers and forgers tormented with itching
GIA745686 Inferno, Canto 29 : The falsifiers and forgers tormented with itching, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Apollo and Marsyas Apollo, after winning the challenge against Marsyas
LRI4610679 Apollo and Marsyas Apollo, after winning the challenge against Marsyas, causes him to throw him into a cave. (detail)

In Castigo, 1899 (oil on canvas)
823590 In Castigo, 1899 (oil on canvas) by Novo, Stefano (1862-1927); 69.2x92.7 cm; Private Collection; (add.info.: In Castigo. Stefano Novo (1862-1927). Oil on canvas. Signed and dated 1899

Inferno, Canto 23 : A crucified Pharisee among the hypocrites
GIA745692 Inferno, Canto 23 : A crucified Pharisee among the hypocrites, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

Inferno, Canto 32 : Dante addresses the traitor Bocca degli Abati
GIA745675 Inferno, Canto 32 : Dante addresses the traitor Bocca degli Abati, illustration from The Divine Comedy by Dante Alighieri, 1885 (digitally coloured engraving) by Dore

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"Castigo: The Complexities of Punishment Unveiled" In the realm of justice, the reclusion of a guilty person does not require torment. This notion is beautifully captured in an enchanting 19th-century engraving, where the image portrays a somber scene devoid of unnecessary suffering. A haunting silhouette of a prisoner chained serves as a poignant reminder of the consequences that befall those who transgress societal norms. Dating back to 1810-1812, this drawing encapsulates the weighty burden carried by individuals trapped within their own guilt. The concept that "if it is a criminal, he dies quickly" echoes through time and space. An aquatint from circa 1810 boldly confronts us with this stark reality, forcing us to question our preconceived notions about punishment and its purpose. Art has long been intertwined with tales and myths from ancient times. In Apollo and Marsyas, an oil on canvas masterpiece dating back to 1618, we witness divine retribution for challenging higher powers. It reminds us that even gods can inflict severe penalties upon those who dare defy them. Security measures are often seen as necessary evils in society's quest for orderliness. However, an engraving from 1810-1820 challenges this perception by depicting a prisoner chained while sitting—a powerful statement highlighting how barbaric security measures can sometimes become when they mirror the very crime they aim to prevent. Drawing inspiration from Dante Alighieri's Inferno Canto 14 comes an evocative digitally colored engraving from his timeless work The Divine Comedy (1885). Here we see the violent being tormented in rainfire—an allegorical representation reminding us that punishment can take many forms beyond physical pain alone. Delving deeper into history brings forth fragments from detached frescoes—depicting scenes such as Satan devouring Judas or Lucifer clutching two Giants and Antenor—from cycles like The Triumph of Death, Last Judgment, and Hell.