The Circle of the Traitors; Dante's Foot Striking Bocca degli Abbate

The Circle of the Traitors; Dante's Foot Striking Bocca degli Abbate, executed in 1827, is a profound engraving that stands as a collaborative effort between William Blake and Harry Hoehn. Classified as a restrike print, this classification indicates that while Blake provided the original design and likely oversaw the initial engraving process, Hoehn was involved in producing a subsequent impression from the plate, thereby ensuring the longevity of Blake’s final major illustrative work.

The subject matter is drawn directly from Dante Alighieri's Inferno, specifically Canto XXXIII, focusing on the ninth and lowest circle of Hell reserved for the traitors. The intense visual drama captures the moment Dante, navigating the frigid, ice-bound depths of Cocytus, strikes the head of Bocca degli Abati. Abati, a historical Florentine figure, was condemned for betrayal, and Dante’s violent action upon him underscores the profound moral and spiritual desperation defining the final cantos of the poem.

Originating from the British school of art, this piece captures the visionary intensity characteristic of Blake’s late career, illustrating his lifelong preoccupation with literary mythology and religious themes. Created during the period spanning 1826 to 1850, this print maintains the dramatic, linear style that made Blake an essential figure in British Romanticism. The high level of technical mastery required for the engraving process allows the dramatic light and shadow to enhance the psychological horror of the scene.

This powerful example of visionary illustration is part of the distinguished collection at the National Gallery of Art. As the original work is nearly two centuries old, prints of The Circle of the Traitors are frequently studied by scholars. Given its age and cultural significance, the underlying materials are often available in the public domain, allowing wide access to Blake’s final interpretation of Dante’s monumental epic.