English: Il Perdono di Gesualdo is structured into three distinct realms: a celestial realm featuring divine figures such as Jesus Christ, the Virgin Mary, the Archangel Michael, Saint Francis of Assisi, Saint Dominic, Mary Magdalene, and Saint Catherine of Siena; an earthly realm that includes representations of Saint Carlo Borromeo, Carlo Gesualdo, and Eleonora d’Este; and a fiery realm depicting winged figures rising above the waiting souls.7 While representations of hell were not uncommon in Post-Tridentine art, the choice to place the figures in purgatory reflects the era’s growing emphasis on intercession and the belief in the transformative power of divine mercy. In the altarpiece, Borromeo stands beside Gesualdo, his hand firmly resting on Gesualdo’s shoulder. Gesualdo, on bent knee and with clasped hands, gazes upwards toward the heavenly realm with a penitent expression, while Borromeo gestures toward him, interceding on his behalf (fig. 4). The shared focus of both figures, their eyes directed toward Christ, suggests a united plea for Gesualdo’s acceptance into Heaven, which frames the work as a manifestation of Gesualdo’s desire for redemption amidst the weight of his past sins, namely murder and adultery. .. Gesualdo intended for his musical composition, Tenebrae Responsoria (1611), to be performed in front of the altarpiece, further enhancing the depth of his plea.8