“Miserere—In vulgar Latin, it is the first word of Psalm 50: ‘Miserere mei, Deus, secundum magnam misericordiam tuam,’ used in the Catholic liturgy in funeral services, in the rites of Lent and the Holy Week, and generally in the orations of penitence. The penitential psalm is sung in the Comedy by the rows of the dead, in the second terrace of Ante-Purgatory, and the chant, is recited in alternate verses (‘singing the “Miserere” verse by verse’ [Purgatorio, Canto V, 24]), is interrupted by an exclamation of astonishment when the souls realize from his shadow that Dante is alive. In a rather different context, however, the expression ‘Miserere mei’ is cried out by Dante at the appearance of Virgil’s shadow in the forest (Inferno, Canto I, 65).”
Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.
For more on the Cameroonian artist Pascale Marthine Tayou, see Wikipedia.
“In Frontier With Church, the artist makes direct reference to the procession encountered by Dante and Matilda at the summit of Mount Purgatory, interpreted in the temporal contexts of proselytism, migration, and trade, on their way to paradise. With Matilda—who clearly prepares Dante for his meeting with Beatrice—Dante witnesses a procession which forms an allegory within the allegory, somewhat like Shakespeare’s play with a play, in which the characters are walking symbols rather than real people. Alexander’s tableau is thus intended to represent the earthly paradise, a borderline space between earth and divine sanctuary: a frontier with attendants, messengers, custodians, and cargo. The tension revolves around human figures rendered with extreme realis, concurring in the creation of the moment before Dante’s meeting with the woman who (allegorically) symbolizes the path to God. All the creatures of the tableau are life-sized and share the real space occupied by the Viewer/s. They have a spectral presence within that space which silently enacts a living history.”
