By Simona Cohen
The connection among medieval animal symbolism and the iconography of animals within the Renaissance has scarcely been studied. Filling a spot during this major box of Renaissance tradition, quite often, and its paintings, specifically, this publication demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised below the veil of style, spiritual or mythological narrative and clinical naturalism. an intensive creation, facing suitable medieval and early Renaissance resources, is by way of a sequence of case experiences that illustrate ways that Renaissance artists revived traditional animal imagery in remarkable contexts, making an investment them with new meanings, on a social, political, moral, non secular or mental point, frequently by way of making use of exegetical technique in developing a number of semantic and iconographic degrees. Brill's reports on artwork, paintings heritage, and highbrow History, vol. 2
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Additional info for Animals as Disguised Symbols in Renaissance Art (Brill's Studies in Intellectual History)
Medieval sources of renaissance animal symbolism 21 Fig. 7. Procession of the Mounted Sins (detail), wall painting, Chapelle Notre-Damedes-Grâces à Plampinet, Savoy, 1490 (Photo: Y. Cohen). allegory, but rather human beings who exemplify the stages of life and contemporary social classes commonly associated with particular sins. 54 The sinners have collars and are linked by a heavy chain, they are moving in the direction of an infernal cavern where demons await them, and they are tormented by diabolical creatures.
See L. Guilbert, “L’animal dans la légende dorée,” in Legenda Aurea, sept siècles de diffusion, (Cahiers d’Études Médiévales), Montreal, Paris, 1986, 77–94. 20 chapter one late fourteenth and fifteenth centuries. Many of these appear to be derived, directly or indirectly, from the bestiaries. 51 Mounted knights in armor in the earlier illustrations are later replaced by female personifications still mounted on their symbolic animals. But while the ‘bestial’ vices continued to retain their animal mounts, the virtues discarded them in the various renditions of this theme executed towards the end of the century.
Grössinger, The World Upside-Down, English Misericords, London, 1997, figs. 2, 159, 162 & 163. 14 chapter one Fig. 3. 114r, Den Haag, Koninklijke Bibliotheek. find mendicant preachers reviving bestial metaphors with a new zeal. 34 33 Prediche nove predicate dal reverendo Padre Frate Bernardino Ochino, Venezia, 1539; I Frati Cappuccini, Documenti e Testimonianze del Primo Secolo a cura di Costanzo Cargnoni, Perugia, 1988; C. Urbanelli, Matteo da Bascio e l’Ordine dei Frati Cappuccini, Ancona, 1982.