This paper discussesÌýthe literary sources ofÌýAuguste ¸é´Ç»å¾±²Ô’s Gates of Hell and in particular the artist’s highlyÌýpersonal interpretation of Dante’s Inferno. TheÌýCourtauld Gallery’s exhibition ofÌýBotticelli’sÌýdrawings after Dante’sÌýDivine Comedy provides an idealÌýframework for presenting current research intoÌý¸é´Ç»å¾±²Ô’s use of Dante in ³Ù³ó±ðÌýmaking of his monumental Gates of Hell. ¸é´Ç»å¾±²Ô’s 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±²Ô’s 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 Dante’sÌýtext, 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±²Ô’s 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 caseÌýwithÌýBaudelaire’sÌýLes Fleurs du mal, which in the end becameÌýthe dominant source of ³Ù³ó±ðÌýGates.