In this paper I will try to analyse some of the implications of the adaptation of the stories of the Old Testament to two other media in Peter Greenaway‖s latest film: Goltzius and the Pelican Company. Indeed, the film as a medium incorporates the dramatization of these stories made by the company of Hendrik Goltzius, a 16th century Dutch printer and engraver of erotic prints. The adaptation is thus achieved in two steps. The first step is from text – the Bible – to the stage adaptation, and gives Goltzius the possibility of representing details related to nudity and sex. The second step is the filming of these dramatized scenes, a process which Greenaway uses in a self-reflexive and metanarrative way which raises many interesting questions as to the effects of each medium on the audience and on how the audience perceives the stories. A striking fact is that there are residual traces of the original medium – i.e. the written text – as well as insertions of products from other media, something that raises the question of what is really being adapted. But the way in which the other media products are inserted in the filmic medium can also be seen as a way of highlighting the materiality of each medium, in the same way as nudity and sex can be seen as a way of highlighting the materiality of the biblical stories. Greenaway thus makes a statement against the view of the Bible as a text of the kind that Bakhtin called authoritative discourse, meaning texts which are not intended to make the reader imagine a world, as Marie-Laure Ryan would put it.