The collective work of Gustave Doré includes woodcut illustrations for Dante’s Divine Comedy and Milton’s Paradise Lost, and a (then) newly translated edition of The Vulgate. These texts were originally published in the 1300’s, 1600’s, and the 4th century respectively, and the editions illustrated by Doré were printed in the mid-1800’s. His having illustrated these three particular texts leads to an interesting result. Every so often publishers will release new editions of texts as a stylistically cohesive set, for example Penguin’s Hardcover Classics. Often resulting in the works being more closely associated with one another, regardless of the actual relations between the books. Gustave Doré’s illustrations have are an example of a similar uniting effect between the three works, (though as a primary source text and two highly regarded derivative works, they were already considered somewhat more related than Dracula and A Christmas Carol) placing them in direct juxtaposition of one another by treating them as a set. The illustrations for both Paradise Lost and the new Bible translation were commissioned by the same publisher (Cassell and Co.) in the same year, perhaps indicating this was in part intentional. Then a year later, however under a different publisher (Hachette and Co.), Dante’s Divine Comedy was printed with woodcuts by Doré. With his recognizable illustrations Doré created something of a common image for Biblical texts, a “brand” if you will, tying the canon and apocryphal texts together through a stylistically consistent representation of the divine across several distinct perspectives on massively overlapping subject matter.
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- Adaptive Organism: John W. Campbell’s “Who Goes There?”, Howard Hawks’ “The Thing from Another World” and John Carpenter’s “The Thing”
- I Am Iron Man (And So Am I)
- Triad: Game of Thrones