This paper discussesÌýthe literary sources ofÌýAuguste ¸é´Ç»å¾±²Ô51²è¹Ý¶ù Gates of Hell and in particular the artist51²è¹Ý¶ù highlyÌýpersonal interpretation of Dante51²è¹Ý¶ù Inferno. TheÌýCourtauld Gallery51²è¹Ý¶ù exhibition ofÌýBotticelli51²è¹Ý¶ùÌýdrawings after Dante51²è¹Ý¶ùÌýDivine Comedy provides an idealÌýframework for presenting current research intoÌý¸é´Ç»å¾±²Ô51²è¹Ý¶ù use of Dante in ³Ù³ó±ðÌýmaking of his monumental Gates of Hell. ¸é´Ç»å¾±²Ô51²è¹Ý¶ù Gates are the subject of an exhibition at the Museo Soumaya in Mexico City, which will be opening at the Musée Rodin in Paris in October. ¸é´Ç»å¾±²Ô51²è¹Ý¶ù earliestÌýsource of inspiration for ³Ù³ó±ðÌýGates of HellÌýwas Dante,Ìýand several drawingsÌýcan indeedÌýbe related to specificÌýpassages in the Divine Comedy.ÌýBut as soon as he started working on the Gates,ÌýRodin began takingÌýliberties with Dante51²è¹Ý¶ùÌýtext, as at no point wasÌýheÌýlooking to illustrate it in any sense.ÌýInterestingly,Ìýhis drawings oftenÌýcontainÌýseveral annotations,Ìýnot all of which relate to Dante. It will be argued that thisÌýmultiplicity of possibleÌýmeanings, a key toÌý¸é´Ç»å¾±²Ô51²è¹Ý¶ù artistic practice in general, wasÌýpresent in even the earliest stages of his creativeÌýresearchÌýfor ³Ù³ó±ðÌýGates. Quite quickly,ÌýRodinÌýbegan combiningÌýDante with other literary sources. This is especially the caseÌýwithÌýBaudelaire51²è¹Ý¶ùÌýLes Fleurs du mal, which in the end becameÌýthe dominant source of ³Ù³ó±ðÌýGates.