SOURCE: “Cather's Mortal Comedy,” in Queen's Quarterly, Vol. LXXIII, No. 2, Summer, 1966, pp. 244-59.
In the following essay, Stewart argues that Cather borrowed heavily from Puvis de Chavannes's series of frescoes of the life of Saint Genevieve and Holbein's “Dance of Death” woodcuts in her composition of Death Comes for the Archbishop.
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