Dalle tre fiere dantesche al drago. Come venivano visti gli animali nel Medioevo di Simone Barlettai Senza alcun dubbio uno degli argomenti che più colpisce la fantasia di chiunque si […]
Barthélemy l'Anglais, Livre des Propriétés des Choses (traduction Jean Corbichon) France, Paris, XIV e-XVe siècles Paris, BNF, département des Manuscrits, Français 216, fol. 283
Animali innocenti e indifesi che, a fondo testo, si tramutano in killer spietati: alcuni esempi di drôlerie, le figure grottesche disegnate dai miniaturisti nelle note a margine.
Finally eaten, Anjou Bible, Naples ca. 1340 (Universiteitsbibliotheek Leuven, Cod. 1, fol. 141r)
Pimpernel. Blue flower. Stylised design. Stylised floral design. Iris, violet. Stylised floral design. Stylised red poppies. Stylised floral...
Beyond the borders of maps, where the limits of exploration fell to imagination, medieval artists and authors created monsters.
Vorrei ricordare che Tsipras in Grecia ha scelto di governare insieme ai greci indipendenti di Kammenos, politico anti euro con inclinazioni fasciste. Lecita indignazione degli eredi della resistenza greca, ripeto lecita e comprensibilissima. Dopodiché esiste l’opportunità politica e la buonafede di Tsipras, secondo me mai scalfita, neppure dalla notte degli accordi con il Gotha Ue né dall’inizio del percorso di riforme “come Bruxelles vuole”.
UK-based blogger Daniel Holland put together a Twitter thread of drawings of animals dating back to the Middle Ages that are as hilarious in their inaccuracies as they are bizarre.
In early medieval art and literature fluffy white rabbits, bunnies, and hares were typically motifs of innocence, venerability, and purity. However, more in sync with these animals’ rate of reproduction
Patternbook from Zisterzienserstift / monastery Rein near Graz, Austria Codex Vindobonensis 507 der Österreichischen Nationalbibliothek Wien 1208-1213
Many medieval manuscripts are works of art with devotional passages written in careful calligraphy, accompanied by vivid illustrations and ornate, decorative borders. But equally captivating is the marginalia – the sketches and doodles in the margins of the text – which range from the mundane to the bizarre, obscene and just plain weird.
Sometimes monks would add depth to the words by illustrating the stories. And sometimes, they'd just draw cats licking their butts.
From medical deformities to military enemies, the impulse to turn the unknown and threatening into mythical monsters has endured for centuries.
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In Medieval Monsters: Terrors, Aliens, Wonders, the Morgan Library & Museum in New York is exhibiting 70 examples of the monstrous in the Middle Ages.
Saint-Sever Beatus. Commentary on the Apocalypse of Beatus of Liébana. Bibliothèque Nationale de France. 1038.
Il Salterio Dal latino cristiano psalterium, dal greco psaltḗrion (ψαλτήριον «cetra»), la parola salterio indica il "canto con accompagnamento di cetra". Per estensione prendono il medesimo nome vari strumenti a corda con cui si accompagnava il canto dei salmi. Nel Medioevo la forma dello strumento definito salterio si stabilizza in una cassa armonica triangolare o trapezoidale su
Perché ci sono tutti questi gatti intenti a leccarsi le parti basse nell'arte del medioevo?
Just like emojis, marginalia - the pictures in the margins of medieval manuscripts - perform a bunch of different functions. They can add to, or illustrate the text they're with, or they can be completely random. And sometimes they look just like emojis.
