Additional Web Figures Global Milton and Visual Art Edited by Angelica Duran and Mario Murgia Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 2 “More Worlds . Other Worlds . New Worlds”: Translations / Illustrations / Paradise Lost Joseph Wittreich Web-Figure 2.A. Roman Catholic Church, Milton entry (Miltonus Joannes), from Index librorum prohibitorum (1758), p. 163. Courtesy of The HathiTrust. PRo h 1 B 1 r o R u M. I 63 - goire VII. Brevi Benediéii XIII. 8. Oítobris 1729. le Meurjofephus. Sorbonicorum Patronæ. Quæftio Theologica. guam fponfavit fibi Chriftus in fem piternum TOfee 2. Thefes quas pro pugnabit Joannes le Boucher die 27. Maii 1713. Decr.2 I. Aug. I7I4. Meurfius Joannes. Athenae Batavæ, five de Urbe Leidenfi & Acade m ia, virifque claris, qui utram que illuftrarunt, Decr. libri- duo. 26. °jan. I 633. Meurfius Joannes. Elegantiæ Latini ferm onis. Decr.7. Febr. I7I8. - Meuslin Wolfgangus. Vide Mufculus. l Meyer Joannes. I. C Ind. Trid. l . I Meyer Sebaftianus. C Ind. Trid. Meyer Sim on. I Cl. App. Ind. Trid. Meyrer Herm annus. De Præferentiis Creditorum libri tres, Decr. 3 - £julii I 623. Michelini Hieronym us . Affertum refponfivum pro defenfione caftita s i t conjugalis. Donec corrigatur. Decr. I7. 7am . I7o3. Micraelius Johannes. Ethnophronius , tribus Dialogorum libris con e tra Gentiles d principiis Religionis Chriftianæ dubitationes. - Decr. Io. °funii I 658. Microfynodus Noribergenfis. Ind. Trid. Micyllus Jacobus. I Cl. Ind. Trid. e De r m etrica libri tres. App. Ind. Trid. , MIKPom PEZBYTIKON : Veterum quorum dam brevium Theologorum five Epifcoporum , five Presbyterorum Elenchus. App. Ind. Trid. - Milichius Jacobus. I Cl. Ind. Trid. - Millerus Jo. Petrus. Vide Moshem ius. u u , & o d Milletot Benigne. Traiété deli&t com m un cas privilegié : s e a e l l d puiffance legitim e des Juges feculiers fur perfonnes Ec . - clefiaftiques. Decr. 3 7ulii 1323. NMiltonus Joannes. Literæ Pfeudo-Senatus Anglicani, Crom wellii , c reliquorum que perduellium , a juffu confcriptæ. Decr-. 22. Decem b. I7oo. nom is - n , Paradifo perduto. Poem a Inglefe tradotto i noftra lingua - -- - -Il . da Paolo Rolli. Decr.2 I °fan. 1732. x Mini Bonaventura. Decifiones Theologicæ, e quatuor Sententia rum libris Joannis Duns Scoti feleétæ. Decr.7. Septem b. I 695. , , Μirabilis liber , qui Prophetias revelationefque nec non res m i , , praeteritas præfentes & aperte randas - - futuras de^ onftrat. - Hiad. Trid. e deMirepoix Evêque. Mandam ent aux Fideles d fon Diocéfe 1714. Cu X 2 jus Back-story in brief. The religiously transgressive character of Milton’s oeuvre is ! attested to by the inclusion of his name in the Holy Office’s Index. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 3 Doré’s Paradise Lost and Ukiyo-e Prints Hiroko Sano Web-Figure 3.A. Strasbourg Cathedral Tower (2020), color photo. Photo by Mario Murgia. Back-story in brief: The single-towered profile of Strasbourg Cathedral constitutes an architectural peculiarity in the Grand Est region of France, the birthplace of Gustave Doré. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.B. Gustave Doré, “A Group of Austrian Guards” (1859), lithograph in black on light gray China paper laid down on ivory woven paper. Courtesy of the Art Institute of Chicago (1948.23). Back-story in brief: As a lithographer, Gustave Doré was very much concerned with the representation of figuratively accurate images of his surroundings through innovative printing techniques. Dore’s use of “near and far” techniques described in Chapter 3 is on display in this and many other of his illustrations. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.C. Félix-Hilaire Buhot, “Japonisme: Dix Eaux-Fortes” [Ten Etchings] (Paris: M. Edmond Sagot, 1885), portfolio, 17 1/2 in. x 12 1/2 in. Prints and Photographs Division, Library of Congress (LC-USZC4-8497). Back-story in brief: Early nineteenth-century printmaking in France was very much influenced by Eastern motifs, especially those from Japanese aesthetics and art. Japonisme soon became an artistic trend among the Impressionists. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.D. Gustave Courbet, “The Wave” (1869), oil on canvas. Courtesy of the Brooklyn Museum. Back-story in brief: The influence of Japanese printmakers like Katsushika Hokusai, whose “Under the Wave off Kanagawa” (c. 1831) is featured in Chapter 3, on French pictorial realism can be traced in Gustave Courbet’s many seascapes. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 3.E. Édouard Manet, “Raven Head” (1875), lithograph. Courtesy of the Art Institute of Chicago. Back-story in brief: The topical and technical affinities between Gustave Doré and other visual artists of his time, like Édouard Manet, is evident in their pictorial re-workings of Anglophone poetical works, like Edgar Allan Poe’s poem “The Raven.” Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 4 Doré’s Illustrations with Cromos in El Paraíso perdido Angelica Duran Web-Figure 4.A. Unknown artist, Jesus, cromo drawing, from a 2020 calendar in Mexico. Photo by Mario Murgia. Back-story in brief: Cromos continue to constitute a ubiquitous expression of popular, even somewhat “kitschy,” art in Mexico. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.B Unknown artist, the Virgin Mary and Jesus with an onlooking John the Baptist, colored and gilt cover, from La Sagrada Biblia (1958). From the library of Angelica Duran. Back-story in brief: The featuring of familiar, often uncredited, biblical scenes on the cover of religious publications ensures an immediate visual rapport between faithful readers and the holy texts in Mexico and other Hispanoamerican countries. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.C. Unknown artist, Old Testament scenes, inset cromo illustrations, from La Sagrada Biblia (1958), fp. 273. From the library of Angelica Duran. Back-story in brief: The comparatively simple pictorial techniques used in cromo illustrations, like these of the Book of Kings, promote a sense of accessibility and familiarity in Mexican Bibles. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 4.D. Gustave Doré, Plate 32 (PL 7.415, 416), black-and-white engraving, from Paradise Lost (1866). Courtesy of The HathiTrust. Web-Figure 4.E. Gustave Doré and Miguel Fernández de Lara, “Tiene por boca,” color drawing, from El Paraíso perdido (1967), fp. 182. Photo by Angelica Duran. Back-story in brief: A tadpole-like Leviathan becomes the epitome of sublime enormity in Gustave Doré’s rendition of God’s marine creation. Miguel Fernández de Lara’s cromo-like colorization of Doré’s engraving is good example of aesthetic re-appropriation of Milton-inspired pictorial art in Hispanophone contexts. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Chapter 5 Paradise Lost in Music Videos Ana Elena González-Treviño Web-Figure 5.A. Frans Floris I, The Fall of the Rebel Angels (1554), oil on panel. Photo: Rik Klein Gotink (CC0). Courtesy of Koninklijk Museum voor Schone Kunsten Antwerpen (K3.BMSKA). Back-story in brief: Along with Pieter Bruegel the Elder’s spectacular oil on panel of the same title (Figure 5.1), Frans Floris’s rendition remains a salient reference in Renaissance representations of the angelic fall from grace. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 5.B. Gustave Doré, “Bertran de Born,” black-and-white engraving, from Dante’s Inferno (n.d.). Courtesy of the Pitts Theology Library, Candler School of Theology, Emory University. Back-story in brief: The figure of Bertran de Born is representative of vicious duality in an individual, which Gustave Doré depicts in his illustration for Canto 28 of Dante’s Inferno. Web Figures for Global Milton and Visual Art, edited by Angelica Duran and Mario Murgia (Lexington Books, 2021), <https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art>. Web-Figure 5.C. Otto Dix, Dead Horse, from War (1924), etching on cream laid paper. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the Art Institute of Chicago (1999.356.5). Back-story in brief: Chapter 5 mentions David Gilmour’s allusions to Doré’s works. Otto Dix’s Dead Horse is one of the many works of art that appear in Gilmour’s video. Dix’s image of the horse’s carcass is a captivating visual metaphor for the decay that war causes and represents an anguishing memento mori amid the horrors of violence.