Abstract: Published in numerous editions starting in 1814, Rev Francis Cary’s translation of Dante’s Divine Comedy had an impressive impact during the nineteenth century. It was not until it was illustrated by Gustav Doré in 1866, however, that Dante’s imagery opened a decisive path towards modernity. By reshaping specific medieval motifs, Doré’s vision of Dante’s Inferno gave them a new life in the visual arts. Doré thus acted as a middleman between Dante and Frederic Leighton, Edward Burne-Jones, and Gustav Klimt, to mention only a few of the modernists influenced by the Dante-Doré co-production.
Key words: illustration, Divina Commedia, Pre-Raphaelite poetics, Frederic Leighton, Gustave Doré, Dante Alighieri, Cassell, Petter, and Galpin Press
International Journal of Cross-Cultural Studies and Environmental Communication 