In 1999, Giraud's illustrations appeared in a soft cover edition of Dante Alighieri's La Divina Commedia, published by the Nuages Gallery in Milan. As "Mœbius" he illustrated the "Paradiso" volume, while the two others, "Inferno" and "Purgatorio", were illustrated by Lorenzo Mattotti and Milton Glaser respectively.; The three-volume work consists of "Paradiso" (, illustrated by Mœbius), "Inferno" (, illustrated by Mattotti), and "Purgatorio" (, illustrated by Glaser) The edition was published under the Mœbius name. Giraud's illustrations for "Paradiso" take heavy inspiration from the engravings of the Divine Comedy by Gustave Doré, whose work he had discovered in his grandparents' library and learned to appreciate in his early formative years, with compositions often approaching an exact match. Giraud acknowledged this influence directly, praising Doré's work and remarking how he sometimes literally used tracing paper to sketch compositions. Though another prominent example of Giraud's non-comic book work, the influences from his science fiction and fantasy comics shine through. The illustrations, with vivid colors and space-age headresses, are distinctly rendered in the Mœbius mode.
In 1999, Giraud's illustrations appeared in a soft cover edition of Dante Alighieri's La Divina Commedia, published by the Nuages Gallery in Milan. As "Mœbius" he illustrated the "Paradiso" volume, while the two others, "Inferno" and "Purgatorio", were illustrated by Lorenzo Mattotti and Milton Glaser respectively.; The three-volume work consists of "Paradiso" (, illustrated by Mœbius), "Inferno" (, illustrated by Mattotti), and "Purgatorio" (, illustrated by Glaser) The edition was published under the Mœbius name. Giraud's illustrations for "Paradiso" take heavy inspiration from the engravings of the Divine Comedy by Gustave Doré, whose work he had discovered in his grandparents' library and learned to appreciate in his early formative years, with compositions often approaching an exact match. Giraud acknowledged this influence directly, praising Doré's work and remarking how he sometimes literally used tracing paper to sketch compositions. Though another prominent example of Giraud's non-comic book work, the influences from his science fiction and fantasy comics shine through. The illustrations, with vivid colors and space-age headresses, are distinctly rendered in the Mœbius mode