New York: Cassel, Peter, Galpin, and Co. First Edition, 1866. Printed at J.J. Little and Co.

First edition of this book by this company, continued to print other editions later with different detailing. The binding is thread, and paper is a rag-cotton that shows age with mold. The covering back and front is leather, embossed with gold lettering for the title, and black for the author and illustrator. The front shows a gold outline of an angel holding a sword and spear in front of clouds. Behind the angel’s center is a black shining sun with gold stars marking the page. The black also has gold embossed stars. The interior includes green floral decorative end paper. The edges of all pages are gilded. The first pages are blank, followed by a title page, content page, and introduction. Besides the covers, all lettering is in Roman black font. This book includes 50 printed wood carved illustrations by Gustave Doré and various woodcarvers, with their signatures at the bottom of the artwork. Illustrations are in black ink and cover a whole page. One drawing is protected by film on page 260. Footnotes for chapters and illustrations are included in the book which are printed and not hand done. Footnotes are shown at the bottom italicized, gives context for information, and cites the reference. 

Gustave Doré has been known for his captivating and dramatic works, often in religious contexts or themes like Dante’s Inferno and The New Bible. One of the most famous though is John Milton’s Paradise Lost which Doré was commissioned for in an 1866 First Edition by Petter, Galpin, and Co. It includes 50 full plates of illustrations that include scenes of angels, devils, and Adam and Eve. His work was transferred onto full pages that allowed the viewer to see his technique and themes in full view. His variety of intensity of his black lines and edges has made his work captivating for centuries. His ability to display emotion with ink and special detail has allowed the viewer to delve into important themes and understand them fully. With the inclusion of Doré in this mass produced First Edition, it can be seen as an example of how art plays in the system of book production, supply and demand, and what companies deem as important when choosing to have an illustrator. 

In this Petter, Galpin, and Co. version of Paradise Lost, the main goal was making the book widespread in popularity and accessibility to lead to more sales. In order to include the illustrations of Doré to boost demand for the book while confining to the fast production speed for mass prints, they used carved woodblock. Various carvers whose names are at the bottom of the illustrations carved Doré’s work into the block so it could be stamped onto the paper. This technique maintained efficiency and a standard quality where each consumer would get the same as the other. It was made to be used over and over, minimizing production time by not having to hand illustrate or make the picture from scratch each time. It creates a certain quality control but also forms the lack of personality in individual books. Every product is to be made as an exact copy. This first edition of Paradise Lost shows the markers of commercialization and emphasis on production and sales, not artistic individualism. 

The commission of Gustave Doré and his illustrations are also an example of an artistic choice for the purpose of marketability. Doré was an acclaimed artist of the time that would draw in readers. To have their own piece of Doré, like how people have their own mass printed Monet hanging in their house, gives people access to view prized art. Viewers at the time were drawn to Doré’s work for its impressiveness, emotional depth, and high technique. Knowing that his work drew viewers in, Petter, Galpin, and Co. made the smart decision to choose Doré as their illustrator and figure to drive up sales. The illustrations and techniques used for their print in the book displays the impact of commercialization and commodification on physical book elements. These deliberate choices have changed book production forever as now the most important part isn’t the story, but cheapest and best ways to sell. 

Gustave Doré’s illustrations changed how art was incorporated and seen in relation to the text. His full pages of intense scenes crafted by differing shades of black lines immersed the reader into Milton’s story. Through his work, readers were able to picture the different players and scenes which made them more understandable and intriguing. Identifiable contrasts done in the pieces help the reader identify and see physical examples of Milton’s words. In the depiction of the good vs. fallen angels like the seventh and twelfth illustrations, Doré makes sharp contrasts with the amount of shading and characteristics. God-fearing angels are filled with less shading and wings that are soft like waves. The fallen angels and followers of Satan are filled with darker shading and sharper characteristics, like hardened gargoyles. These clear oppositions demonstrate themes of the story of Paradise Lost like light vs dark, good vs. evil, faithful vs. arrogant. These physical markings also create an emotional response to the story whether that’s fear, captivation, or devotion. With these skills and one piece taking up a whole page, Doré made his work equal with Milton’s, stopping the viewer to look in the details and delve into the page. The full page and the heavy artistic descriptions of the story made the book more accessible to readers as it helped comprehension of the story. Including drawings within a story also gives a captivating element to the rest of the story as the fascinating picture urges them to continue reading. Doré’s artistic skills were one of the big selling points that allowed this book to be such a success. With these prints, it spread the range of availability through helping the reader continue the story and comprehend integral themes. 

By being commissioned by Petter, Galpin, and Co, Doré helped the industrial and commodification process of books. Through his works being transferred by woodblock and not hand drawn on each paper, it sped up the industrial and commodification process of books. Through his works being transferred by woodblock and not hand drawn on each paper, the creation of this edition can be seen emphasizing easier production which speeds up time between the making and selling of this product. His illustrations themselves were used to draw readers in and sell copies as his work made stories more comprehendible and gave visual aid. The company used Gustave Doré for not just for his artistic ability, but also his image. Knowing his recognition, they purposely chose him as their illustrator, capitalizing on it and using it to boost sales. Doré is a fact that art, its process of creation and inclusion in books has a profound impact on the industry. He was a part in solidifying easy manufacturing, standardization, and accessibility, in the name of money through the addition of his works in widespread media. His artwork will always last through time, but potentially not the book it’s in.