The Holy Bible has closely seen, many times as a protagonist, part of the book´s graphic history. Nowadays, it is also a topic of discussion when we talk about the transposition from printed to digital. Its particular history presents a series of graphic evolutions that are consequences of the reading process influenced by the culture and tradition of the two main religions that it represents: Judaism and Christianity. Many of these progresses were responsible by the rising of a reading way of its narrative structure which features points towards to hypertextuality, discussed exclusively on digital compass. Once inserted on electronic media, the Bible has on these features, which graphic representation is determinant, his keystone to the perfect assimilation on this new environment. The designer, who projects the several interfaces of the Bible, has the responsibility on comprehending how the graphic elements, while visual signs, behave. From a brief synthesis of its graphic history and from the search of the relationship between the identified features of hypertext, a study by a semiotic approach shows how some visual elements of two cd-rom editions bears the meanings which make them so authentic as its printed version, giving it the same holy value for its users.