When Dante chose to situate his Commedia in the three realms of the Catholic afterlife, he had many sources to draw upon: Aeneid VI, the legacy of Scripture, medieval dream visions, theologians like Augustine and Aquinas, iconography, and perhaps even Mohammed’s Night Journey. What he borrowed, however, he invariably made his own. His hell brings order and psychological depth to the traditional welter of infernal retribution. His purgatory spirals above ground along the radiant slopes of an antipodean mountain, while paradise moves from one light show to another before blossoming into a white rose. The cities and landmarks of the world he knew also become ways to conjure the imagined other world, forging a lively connection between the two. Each afterlife realm, moreover, explores a spiritual disposition articulated through landscape, dialogue, and imagery: the claustrophobic egotism of Inferno, the dynamic of transformation in Purgatorio, and the luminous intersubjectivity of Paradiso.