Depicts
Dante Alighieri
Dante appears throughout the 1861 folio as the poem's traveller, guided by Virgil through the circles of hell.
by Gustave Doré
Gustave Doré's folio edition of the Inferno, published in Paris in 1861 at his own expense after his publisher refused to fund it. Its plates fixed the look of Dante's hell for the modern imagination, and their success launched the series of great Doré folios.
By 1860 Gustave Doré was the busiest illustrator in Paris, but the project he wanted most was turned down by his own publisher. He imagined Dante's Divine Comedy as an enormous luxury folio, drawn by him and cut by the best wood engravers in France. Hachette judged the format too expensive to recover its costs.
Doré paid for the first printing of the Inferno himself, with Hachette handling the printing and sale. The edition appeared in 1861 and sold out. Hachette took the series over, and the success carried Doré to a chevalier's cross of the Légion d'honneur that August, at twenty-nine.
Doré drew Dante Alighieri and his guide Virgil as two small, luminous figures moving through an overwhelming landscape. Forests whose trees are the bodies of suicides give way to cliffs dropping into darkness, ice fields holding the treacherous, and crowds of the damned rendered body by body. The scale is the argument — hell is architecture and weather, and the poets are visitors.
The images owe their finish to a division of labour. Doré drew directly onto the engravers' woodblocks or supplied drawings to be transferred; professional engravers then cut the blocks that printed the plates. The system let one artist's imagination reach print at industrial scale.
Doré completed the Divine Comedy with a second folio covering Purgatorio and Paradiso, published by Hachette in 1868. The hell plates remained the famous ones: publishers ever since have reprinted the Inferno set on its own, and painters and filmmakers staging Dante have started from Doré's staging.
The folio was published in 1861 in Paris. Doré had wanted the project for years; when Hachette declined to fund so expensive a format, he paid for the first printing himself. It sold out, and Hachette continued the series.
About seventy-five full-page plates in the 1861 folio; exact counts differ slightly between later editions and reprintings. The complete Divine Comedy set, with the Purgatorio and Paradiso volume of 1868, runs to roughly 135 plates.
Yes. The Inferno came first in 1861, and Hachette published his Purgatorio and Paradiso together in a companion folio in 1868. The hell images are the ones that entered popular culture, and they are usually reprinted alone.
Because they became the default picture of hell. The tiny travellers in a vast, hostile landscape, the muscular crowds of the damned, the darkness broken by a single light source — later illustrated Bibles, fantasy art and cinema all inherited the staging. When a film shows hell as monumental architecture in grey half-light, it is quoting Doré whether it knows it or not.
Almost anywhere. The engravings entered the public domain long ago, so they circulate in modern printed editions, in library rare-book rooms holding the 1861 folio, and in full online scans. Original folio volumes appear regularly on the rare-book market.
Depicts
Dante appears throughout the 1861 folio as the poem's traveller, guided by Virgil through the circles of hell.
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