Creatures from medieval Bestiaries, 12th Century

The basilisk is included among the reptiles in the bestiary. A basilisk is an exceedingly dangerous animal, as its scent can annihilate almost anything, and its gaze is terrible enough to cause the death of any man foolish enough to look at it. BUT it has an antidote (cont. reading below...).

The leucrota is somewhat confusingly described as having the rear parts of a stag, and the chest and legs of a lion, but with cloven hooves.  Its most distinctive characteristic is its charming wide-mouthed grin, which stretches across its head.  Its teeth are single, continuous pieces of bone, and it is capable of imitating the sound of a human voice.

The name of this beast is variously given as anphivena, amphisbaena, amfivena, and many other variations.  But the true spelling of its name is not the least of its mysteries; the exact nature of the amphivena’s form was also a source of considerable uncertainty - See more at british library amphivena

The manticore is a fearsome beast indeed, and one that is also apparently vulnerable to the whims of the various artists attempting to portray it. Bartholomaeus Angelicus describes this animal by saying that ‘among all the beasts of the earth is none found more cruel, nor of more wonderly shape’

A bestiary, or "Bestiarum vocabulum" is a compendium of beasts. Originating in the Ancient world, bestiaries were made popular in the Middle Ages in illustrated volumes that described various animals, birds and even rocks. The natural history and illustration of each beast was usually accompanied by a moral lesson. This reflected the belief that the world itself was the Word of God, and that every living thing had its own special meaning. For example, the pelican, which was believed to tear open its breast to bring its young to life with its own blood, was a living representation of Jesus. 

The bestiary, then, is also a reference to the symbolic language of animals in Western Christian art and literature.

Probably one of my favourites is the Basilisk (first illustration), very dangerous but  vulnerable to the weasel, which can pursue the basilisk into its hiding hole and kill it.  In the bestiary text, much is made of the example of the basilisk; the writer takes the opportunity to expound on the nature of evil embodied in this horrible creature.  He assures us that no matter how frightening an animal might be, ‘the creator of all has made nothing for which there is not an antidote’.  So take heart, and keep your weasels close!

I found all illustrations at British Library digitalization proyect. They have an amazing collection of Medieval Bestiaries from all Europe. At least I could investigate the following 4 manuscripts:

• Harley MS 3244 (direct link to the manuscript provided), I found here the illustration about the amphivena (the "double-headed green dragon"). Its on folia 62 right. Also found the "leonine manticore" killing a man (last illustration) on this same manuscript

• Royal MS 2 B VII Amazing fight of 2 amphivenas, Detail of a bas-de-page scene from the Queen Mary Psalter, England (London?), 1310 – 1320

• Found the Leucrota at Royal MS 12 F XIII, folia 23 (I call it the " Simpsons Leucrota", looks like a Simpsons character :)

• Found the basilisk killing a man with its gaze and being attacked by a weasel at Royal MS 12 C XIX, was on folia 63r... 

Some curious things about bestiaries... The Italian artist Leonardo da Vinci also made his own bestiary. Even Jorge Luis Borges wrote a contemporary bestiary of sorts, the Book of Imaginary Beings, (Orig. "Manual de zoología fantástica") which collects imaginary beasts from bestiaries and fiction... (direct link to Amazon provided, costs around 15 USD).

Satirical maps of the "Great War" (WW1), 20th Century

Meaning of this map: Russia wants to swallow up everything. England hides its fleet under the skirt of home, the dog Ireland is at its back, looks ready to attack (?). King Oskar of Sweden looks “intently” at Russia. France bravely retreats, while Spain devotes itself to sweet “idleness.” Regarding Spain, most of the times on other maps I noticed that the frequent representation is a bullfighter. German and Austria-Hungary strike solid German blows on all sides. Montenegro – a pack of lice. Serbia – a pack of swine! The King of Derazzo.
Albania – abandons its people. Greece and Turkey are eager to devour one another. Ferdinand of Bulgaria would also like to have a share.

 

In 2014 the world will mark the 100th anniversary of the outbreak of the First World War. I post here a brief letter I've found at site 1914.org

 

"I am for the front on Tuesday, but if you write and say I am only seventeen it will stop me from going. Don’t forget." 

This note was sent by soldier Stephen Brown (5th Bn, King’s Royal Rifle Corps) to his mother, April 1915. He was killed at Ypres a month later. I could obtain his complete correspondence at telegraph.uk website (direct link provided).

Never a war changed the world like 1st WW or "Great War" did. I wont post here nothing about the assassination of Archduke Franz Ferdinand in Sarajevo and all consecuences about the serbian campaign. Wikipedia has an excellent article with basicly all you need to know about the WW1 (links provided on this same parragraph).

The post today is about a 20th C. collection of satirical and, -in my opinion- cruel maps designed to introduce hate and pro-war interest, that impressed me a lot first time I saw it: With the start of hostilities in 1914, the satirical press threw its full weight behind the German war effort and in aid of a fatherland under threat. Even pens that had been known for their criticism of the government followed the call by Emperor Wilhelm II for a “holy union”, and  depicted the war as a defense of German culture against the onslaught of barbarism. (Note: I could read same idea on Ian Kershaw's A. Hitler biography. This was his basic argumentation also in "Mein Kampf")

In their initial enthusiasm, they promoted the image of a ridiculous, incompetent, rude and cruel enemy that would almost instantly disintegrate. Russia, and to a lesser degree England, is the target of its most scathing insults; France is pictured as following the others’ lead and sometimes even as a victim of her alliances.

I forgot to mention source :: collection is online available at University of Holland website (direct link provided here "Kaartencollectie")

Title: "Hark! hark! The dogs do bark!". Dogs of War are loose in Europe, and a nice noise they are making! Meaning of this Map: By the fine unwritten law of Dogdom big dogs never attack little dogs. There are, however, scallywags in every community, and, egged on by the Dachshund for private ends, the Mongrel started bullying a little Servian. There was a very game little Belgian Griffon, and there was a great big French Poodle, a smart dandified fellow, and there was a Bulldog (Bulldog has a habit of sleeping with one eye open, and, when he is roused, he grips and won't let go). Dachshund started by attacking the Belgian Griffon. even the little Servian gave the Austrian Mongrel some nasty bites, and so did a neighbour of his named Monty. Italia dissembled her love in the strangest way, and asserted that War was a luxury which she could not afford just now.

Overview of European Spring, 1915 (by Lucas Gräfe; Hamburg, AK [pub.], 1915)

 

Summer Review of Europe, 1915 (by Lucas Gräfe; Hamburg, AK [pub.], 1915)

Meaning of this map: The Russian bear sprays insect repellant on the Russians and holds out his empty wallet while roaring “hunger.” Finland, chained to Russia, tries to cut itself free. The Russian is under fire from Austria and Germany. His uniform shows a tear in East Prussia and Lithuania. The Austrian duly scratches the Serbs. Rumania is at the ready. Bulgaria is still wounded from the Balkan War. The Turk awakes, he looks at his harem woman. Norway and Sweden are neutral, Denmark supplies butter. Italy has both feet in one boot and remains neutral. The German pushes Belgium out of the way with the elbow and is at Franzi’s head. Bordeaux becomes an asylum for the homeless. The victories of the English and French are false, like the snakes that proclaim them.

Meaning of this map: Of great collecting value! European revue. Title: Kill that eagle. [..] This satirical map of Europe is 'a document proving the perfidy of Albion'. Whilst German assets and blood fight for the fatherland, England regards the war merely as business by saying sneeringly: 'Business as usual' [..]. The map reproduces the English original exactly. The few words are transposed into German for better understanding. The price of this map in London is 1 shilling - 1 mark. Reproduced by a German printer without kind permission from our English cousin, as an eternal memento. Printer and Publisher W. Nölting, Kaiser Wilhelmstr. 93. HAMBURG 36

Liberal Arts, 16th Century

"The areas of secular education considered liberal have their foundation in classical antiquity and were codified in the medieval period into a distinct set of seven, with two subdivisions. The upper division, the quadrivium, consists of Geometry, Arithmetic, Astronomy, and Music; while the lower division, or trivium, is made up of Grammar, Logic (or Dialectic), and Rhetoric. [..]

The tradition of artistic representation of the Seven Liberal Arts may be traced to the fifth-century work of Martianus Capella; his allegorial treatise, 'De Nuptiis Philologiae et Mercurii Libri Novem' ['Satyricon'], describes the Seven Liberal Arts as personified female figures with specific attributes and companions." [source]

Arithmetic, a woman, seated at a table inscribes a tablet accompanied by an elderly woman and two male scholars; the elderly woman stands over her and instructs her; her dress is numbered "1234..." and two tomes are labelled "ABRAHAM" and "PYTHAGORAS".

Geometry, a woman, uses compasses to measure the globe watched closely by two male figures; various measuring devices are in the foreground together with academic tomes.

Astrology, a winged female personification, leans besides a globe with zodiacal star symbols; on the ground are various scientific instruments and sundials etc; an eagle spreads its wings and stands besides a pile of books labelled "ANAXIMENES" etc.

Dialectic, a woman, seated on a wicker chair, engages in conversation with an elderly philosopher; she rests her feet on a stack of tomes labelled "ARISTOTELES" etc; a bird sits on her head, an eel is wrapped around her arm and a frog sits on an upright tome.

Grammar, a seated old woman, teaches a young boy standing besides her the rudiments of reading and writing; she holds a long staff, leans over and points to the pages of the book held by the youth; her dress has the letters of the alphabet; in a school room with students and various labelled scholarly tomes.

Rhetoric, a seated woman, holding a caduceus, leans over and engages with a seated man writing on a tablet; an elderly man with a long beard places his hands on the shoulder of the younger scholar; two birds, including a parrot, sit on a pile of books labelled "CICERO" etc on the ground.

Music, a woman, sits at a harpsichord; another female plays a lute and two youths embraced by an elder sing and hold tablets; a man sits at right and plays on a lute and the ground is strewn with instruments; more instruments hang from the wall, including a bagpipe and trombone

The allegorical mannerist images above were engraved by Cornelis Cort (after Frans Floris) and published in Antwerp in 1565 by Hieronymous Cock. Available at Folger Shakespeare Library Image Collection [homepage]