Tradition and Evolution of the Iconography of Hell in the Pictorial Cycles of the Alps

This thesis investigates the depiction of Hell in medieval wall paintings across the Alpine regions, spanning from Western Liguria to Friuli-Venezia Giulia, between the late eleventh and fifteenth centuries. Throughout the Middle Ages, visual representations of Hell and the Otherworld in places of worship were designed to engage believers on multiple levels—visually, physically, and emotionally—while reinforcing liturgical messages and moral values. These images served both to illustrate the action of divine justice, contrasting the joys of the blessed with the torments of sinners, and to encourage individual reflection on sin and penance. Despite the rich variety of these depictions in the Alpine area, no comprehensive study has previously analyzed them as a unified body of work. This research addresses this gap by cataloging and analyzing fifty-one wall paintings, tracing the iconographic developments across the medieval centuries. Far from being static or homogenous, the iconography of Hell in this territory developed through complex interactions shaped by geographical, religious, and cultural influences. Often viewed as peripheral, the Alpine regions displayed a vibrant artistic vitality, reflecting influences from major urban centers while presenting innovative iconographic solutions. The thesis is divided into two parts. The first part, in four chapters, analyzes the iconographic evolution of the image of Hell across the Alps from the earliest pictorial evidence to the fifteenth century. This iconographic study, which seeks to trace the origins of the figurative solutions developed in the Alps through the medieval centuries while highlighting both shared themes and regional particularities, is further enriched by an assessment of the functions these images fulfilled within their specific contexts. The second part presents a catalogue raisonné of the fifty-one paintings, with each entry providing detailed evaluations of iconographic and stylistic elements, historiographical context, and relevant bibliography. For lesser-known works, the catalog offers foundational analyses for future research. This thesis frames the Alps as a rich artistic context, challenging the definition of "Alpine art" as a singular or coherent concept. Rather than being a homogeneous body of work defined by uniform stylistic or thematic characteristics, the artistic productions of the Alpine regions are marked by significant diversity linked to geographical, social, and religious factors that shaped artistic developments across different areas of the territory. By resisting the tendency to categorize the artistic outputs of the Alps under a unified framework, this research emphasizes the plurality of experiences, influences, and solutions adopted, highlighting the heterogeneity of the Alpine artistic landscape. This study necessitates a multi-layered analytical approach, which includes both cross-regional perspectives and meticulous examinations of individual case studies and their regional peculiarities. This dual focus allows for a nuanced understanding of how artistic expressions evolve in response to varying local contexts while simultaneously engaging with broader trends. By exploring the Alps as a constellation of distinct artistic experiences, the research highlights the dynamic interconnections between different regions, thereby revealing the unique characteristics of individual sites and underscoring the delicate balance between external influences and local originality—factors that together contribute to the development of a complex and diverse artistic heritage.