In this paper I will try to analyze 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, a process which can be compared to a form of remediation which is close to the figure of ekphrasis. But this form of ekphrasis would work in the opposite direction compared to what could be called “classical ekphra-sis”, defined for instance by Claus Clüver as “the verbalization of real or fictitious texts composed in non-verbal sign systems”. The second step is the filming of these dramatized scenes, a process which Greenaway uses in a self-reflexive 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 the original medium – i.e. the written text, both as basic and qualified medium according to Lars Elle-ström’s model – is not completely absent in the film.