Ah, my favorite page! That took way too long to research!
Again, "The Girl Who Trod on a Loaf" is a bit unique for its meta-fairy-tale narrative. Part of Inger's torment in the underworld is hearing what everybody is saying about her and her loaf-trodding ways. After all, what is a worse punishment for someone who regarded everything and everyone with contempt than...being regarded with contempt?
To use very contemporary terms, Inger loses control of her image. To show this, I wanted to show Inger's story being told (and illustrated) in different ways throughout the history of illustration. Arthur Rackham, Yann Legendre, Edward Burne-Jones, Virginia Frances Sterrett, Walter Crane, and Kay Nielsen.
Have a nice weekend!
"What a never-ending corridor that was to be sure; it made one giddy to look either backward or forward. Here stood an ignominious crew waiting for the door of mercy to be opened, but long might they wait. Great, fat, sprawling spiders spun webs of a thousand years round and round their feet; and these webs were like footscrews and held them as in a vise, or as though bound with a copper chain. Besides, there was such everlasting unrest in every frozen soul; the unrest of torment. The miser had forgotten the key of his money chest, he knew he had left it sticking in the lock. But it would take far too long to enumerate all the various tortures here."
Fairy Tales from Hans Christian Andersen, 1907
A little preview of three pages, taking place in this fairy tale's unique Hell:
In the center is the miser, described in the original, with the key that keeps him from resting. On each side are two sinners of my own invention: a man who left out love letters to his mistress, about to be found out, and a woman who had received beautiful flowers, just before her friend received even more beautiful flowers...the idea being that something related to their sin keeps each soul restless. Spo-o-o-oky!
Hell in this story is timeless, with souls from many different centuries coming together. While Inger's world is a sort of postmodern fantasy, what with the 19th century costumes with 1980's hairstyles and patterns, I wanted these characters to be a bit more realistic.
The Miser is based on this "Death and the Miser" painting by Jan Provoost:
The Liar is based on Pierre from BBC's War and Peace series:
And Envy is based on, well, all of Mad Men.
Have a great week!