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Topics

2012-05-21T17:11:56Z

Walker:

[[Bones]]

[[NumericalData | Faunal material - numerical data]]

[[Pigs realonline | Pigs@REALonline - A link to images showing pigs]]

[[Pig labeling | Pig labeling in modern Bosnia and Herzegowina]]

[[Introduction to Medieval Animals]]

Introduction to Medieval Animals

2012-05-21T17:10:37Z

Walker: Created page with "== Animals in the Middle Ages == == Introduction == The Medieval period is an exceptional moment for the study of human-animal relationships. Many aspects of the political, ..."

== Animals in the Middle Ages ==

== Introduction ==

The Medieval period is an exceptional moment for the study of human-animal relationships. Many aspects of the political, economical and symbolic realms from medieval societies cannot, in fact, be fully understood without taking animals into consideration. The Spanish sheep economy exemplified by the Mesta would be one such case in point. 
[[Image:El rey de los animales.jpg|thumb|left]]

Animals were present in practically every aspect of material life in the Middle Ages, including diet, trade, husbandry, fishing and hunting, industry, trade and transport, warfare, and everyday matters. At the same time, animals were prominent items in various aspects of non material life, including mentality, symbolism, magic, literature and art. 

As the Middle Ages lasted for more than a millennium, and encompassed societies of different cultural backgrounds, perceptions concerning animals and their interactions with people were often anything but homogeneous. Space interacted with culture and time to complicate matters further. Such facts notwithstanding, it is true that Christianity did provide an encompassing mentality of sorts - a belief system of shared values- that shaped human attitudes towards animals in Europe to this day. One should nevertheless stress that Medieval societies occasionally held opposite views to those expressed by the Church when it came to valuing animals from a moral standpoint. This was the case of dogs and horses, animals with an often negative symbolic connotation for the Christian religion, that feudalism enthroned as the most appreciated beasts of Medieval times. 

A central aspect for understanding human-animal relationships and attitudes towards animals during this period is that Nature was rarely under the control of men, constituting a permanent menace for their life, crops and goods. The fact that large wild animals were far more numerous then than nowadays may partly explain the fear towards Nature but often pests and animal-borne diseases played a more prominent role, in particular during the second half of the Middle Ages. 

Information about medieval animals (i.e., “zoohistory”) can be gathered from a wealth of sources. Documentary data are often dispersed and literally buried within texts dealing with other matters. Data often appear on all kinds of literary genders – Bestiaries being a Middle Ages’ favorite - and also in iconographies, but legal texts are a source not to be neglected. When it comes to physical evidence, archaeozoology offers a unique and innovative venue that allows one to deal with aspects often overlooked by the literature, such as the transformation of the environment, and also to contrast documentary data with the material record. 

Medieval scholars elaborated different systems of zoological taxonomy, mostly based on the classical sources and often with a more practical than scientific outlook yet some of these paved the way for the scientific classifications that were to follow during the ensuing Modern Age. 

Bestiaries, also in their iconographic versions (e.g., in art, iniatures, etc.) constitute the paradigm of symbolic zoology. Here animals were used for the purpose of illustrating religious dogma and moral values. Within such context, faunas served a didactic purpose that taught an essentially illiterate population to imitate good acts and avoid evil ones. 

The Medieval World is full of iconic animals. Many of these derive from Christian symbols such as the lamb, the fish and the dove. Others, like the aforementioned dogs and horses, were highly esteemed from feudal times onwards, the later also among the Arabs. Eagles and lions were all time-favorites in armories. Cats and birds, and also dogs, were favored as pets in the Christian lands, where bear and wild boar constituted two of the most popular hunting icons. The Medieval World witnessed the importance given to exotic animals –such as elephants and monkeys - that often became part of an exchange system among kings and noblemen, and who were responsible for the rise of the menageries, the root of our present-day zoos. 

== Bibliography ==

* Le Goff, J.(2009): “Los Animales” in Una Edad Media en Imágenes.Paidós. Barcelona.: 182-205.

* Nogales Rincón, D: "El reino animal como gobierno utópico en la Castilla bajomedieval (siglos XIII-XV)", Medievo Utópico. Sueños, ideales y utopías en el imaginario medieval, coord. Martín Alvira Cabrer y Jorge Díaz Ibáñez, Madrid: Sílex Ediciones [en prensa], : 67-86.

* Morales Muñiz, D.C.(1999): “Los animales en el mundo medieval cristiano-occidental: actitud y mentalidad”. Espacio, Tiempo y Forma, III 11 :307-29.

* Morales Muñiz, D.C. (2000): “La Fauna Exótica en la Península Ibérica: apuntes para el estudio del coleccionismo animal en el medievo hispánico” . Espacio, Tiempo y Forma, III, 13: 233-270

* Resl, B.(Ed.)(2007): A cultural History of Animals in the Medieval Age.Berg.Oxford-New York.

* Salisbury, J.E. (1994): The Beast Within. Animals in the Middle Ages. Routledge. Nueva York-Londres.

 

Author 

Dolores Carmen Morales Muñiz

File:El rey de los animales.jpg

2012-05-21T16:28:55Z

Walker:

File:SAN ISIDORO Panteon Calendario (noviembre).JPG

2012-05-16T15:57:30Z

Walker: Pig, Calendar, November, Pantheon at San Isidoro of León, Spain

Pig, Calendar, November, Pantheon at San Isidoro of León, Spain

Animal Wiki:Img sc t1 r6p2

2011-01-23T13:47:21Z

Walker:

*[[Bear in the Cathedral of Jaca, Spain]] 
*[[Bear in the Cathedral of Tudela, Spain]] 
*[[Snake in Nuestra Señora del Rivero, San Esteban de Gormaz, Spain]] 
*[[Wild boar hunt in Santa Maria de Tiermes, Spain]] 
*[[Wild boar in San Pedro de Caracena, Spain]]

Boar

2011-01-23T13:46:48Z

Walker:

Terms: [[Wildschwein]] [[aper]] 
Images:

*[[Wild boar hunt in Santa Maria de Tiermes, Spain]] 
*[[Wild boar in San Pedro de Caracena, Spain]]

Wild boar in San Pedro de Caracena, Spain

2011-01-23T13:44:59Z

Walker:

== Wild boar ==

[[Image:Jabali Abside Caracena.JPG|thumb|400px|Wild boar in San Pedro in Caracena, Spain. End of the 12th century.]]

Wild Boar. 
Apse of San Pedro de Caracena (Exterior view). 
End of the 12th century. 
Carved stone. 
Soria (Spain). 

== Description ==

This corbel belongs to the apse of the church and it is placed on the southern part. A single Wild Boar is depicted in a frontal position, and it does not interact with any other figures. It is part of a complex hunting scene made up of five consecutive corbels with a hunter with a lance playing the olifant, a dog, the wild boar, another dog and a second hunter carrying another lance.

We can consider these figures as a simplification of the hunting scene that we can see in one of the capitals of this church’s open gallery; although the conservation of these corbels is worse than the ones on the apse.

The symbolism is very similar to the sister scene that we can find in the nearby church of Santa María de Tiermes (Soria); furthermore, both scenes were probably made by the same workshop. This scene could be interpreted as a psychomachic combat against evil or sin, as well as a scene of daily life, depicting the defensive hunting that the inhabitants of that area used to practice. Nevertheless, it is interesting to note the fact of the reiteration of the topic in the decoration of this church.

== Bibliography ==
*GAYA NUÑO, Juan Antonio, El románico en la provincia de Soria. Madrid: CSIC, 1946.
*HERNANDO GARRIDO, José Luis, “Apuntes sobre la caza en el arte medieval hispano”, Codex Aqvilarensis, 19 (2003), 102-126.
*PALOMERO ARAGÓN, Félix, “Breves apuntes sobre la escultura monumental de San Pedro de Caracena (Soria): relaciones con otros monumentos y Escuela Silense”, Boletín del Seminario de Estudios de Arte y Arqueología: BSAA, 56 (1990), 351-363.
*RODRÍGUEZ MONTAÑÉS, José Manuel, “Caracena” en GARCÍA GUINEA, Miguel Ángel y PÉREZ GONZÁLEZ, José María (dir.), Enciclopedia del Románico en Castilla y León. Soria I. Aguilar de Campoo: Fundación Santa María la Real – Centro de estudios del Románico, 2002.
*URIA RIU, Juan, “La caza de la montería en León y Castilla en la Edad Media, Clavileño, 35 (1955), 1-14.

Author

Diana Olivares Martínez

File:Jabali Abside Caracena.JPG

2011-01-23T13:34:30Z

Walker: San Pedro in Caracena, Spain

San Pedro in Caracena, Spain

Animal Wiki:Img sc t1 r6p2

2011-01-23T13:31:45Z

Walker:

Boar

2011-01-23T13:26:31Z

Walker:

Terms: [[Wildschwein]] [[aper]] 
Images:

*[[Wild boar hunt in Santa Maria de Tiermes, Spain]]

Wild boar hunt in Santa Maria de Tiermes, Spain

2011-01-23T13:25:01Z

Walker:

== Wild boar ==

[[Image:Tiermes1.JPG|thumb|400px|Wild boar hunt in the gallery of Santa Maria de Tiermes, Spain. End of the 12th century.]]

Wild Boar hunt. 
Gallery of Santa María de Tiermes. 
End of the 12th century. 
Carved stone. 
Soria (Spain). 

== Description ==

The capital shows a wild boar attacked by a hunter armed with a lance and a dog which is over the back of its prey. This dog is biting the head of the wild boar to immobilize it while the hunter pierces its size. The size of the wild boar is more or less accurate, as well as its anatomy, something that makes the animal recognizable.

[[Image:Tiermes lateral1.JPG|left|thumb|200px|Capital with a hunter playing an olifant. Gallery of Santa Maria de Tiermes, Spain. End of the 12th century.]]

This capital belongs to an open gallery and it is placed in the south side of the east entrance to the gallery and three of its faces have been carved. This hunting scene continues in the other two sides of the capital with a hunter playing an olifant and a third man carrying another lance, besides some vegetable elements in both sides. This wild boar hunt could be interpreted as a psychomachic combat against evil or sin, as well as a scene of daily life, depicting the defensive hunting that the inhabitants of that area used to practice.

[[Image:Tiermes lateral2.JPG|thumb|200px|Hunter with spear in the gallery of Santa Maria de Tiermes, Spain. End of the 12th century]]

== Bibliography ==

*GAYA NUÑO, Juan Antonio, El románico en la provincia de Soria. Madrid: CSIC, 1946.
*HERNANDO GARRIDO, José Luis, “Apuntes sobre la caza en el arte medieval hispano”, Codex Aqvilarensis, 19 (2003), 102-126.
*PALOMERO ARAGÓN, Félix, “Aproximación a la escultura románica monumental de la ermita de Santa María de Tiermes”, Celtiberia, 73 (1987), 21-67.
*RODRÍGUEZ MONTAÑÉS, José Manuel, “Montejo de Tiermes” en GARCÍA GUINEA, Miguel Ángel y PÉREZ GONZÁLEZ, José María (dir.), Enciclopedia del Románico en Castilla y León. Soria II. Aguilar de Campoo: Fundación Santa María la Real – Centro de estudios del Románico, 2002.
*URIA RIU, Juan, “La caza de la montería en León y Castilla en la Edad Media, Clavileño, 35 (1955), 1-14.

Author 

Diana Olivares Martínez

File:Tiermes lateral2.JPG

2011-01-23T13:22:29Z

Walker: Santa Maria de Tiermes, Spain.

Santa Maria de Tiermes, Spain.

File:Tiermes lateral1.JPG

2011-01-23T13:16:11Z

Walker: Santa Maria de Tiermes, Spain

Santa Maria de Tiermes, Spain

File:Tiermes1.JPG

2011-01-23T13:03:46Z

Walker: Wild boar hunt in Santa Maria de Tiermes, Spain

Wild boar hunt in Santa Maria de Tiermes, Spain

Animal Wiki:Img sc t1 r6p2

2011-01-23T12:53:57Z

Walker:

*[[Bear in the Cathedral of Jaca, Spain]] 
*[[Bear in the Cathedral of Tudela, Spain]] 
*[[Snake in Nuestra Señora del Rivero, San Esteban de Gormaz, Spain]]

Snake

2011-01-23T12:52:38Z

Walker:

*[[Snake in Nuestra Señora del Rivero, San Esteban de Gormaz, Spain]]

Animals

2011-01-23T12:51:54Z

Walker:

[[Aurochs]] 
[[Bear]] 
[[Pig]] 
[[Boar]] 
[[Lion]] 
[[Cat]] 
[[Snake]]

Snake in Nuestra Senora del Rivero, San Esteban de Gormaz, Spain

2011-01-23T12:51:05Z

Walker:

== Snake ==

[[Image:Snake San Esteban Rivero.JPG|thumb|400px|Snake in the right capital of the main portal, beginning of the 12th century.]]

Snake. 
Right Capital of the Main Portal,Nuestra Señora del Rivero, San Esteban de Gormaz, Spain. 
Beginning of the 12th century. 
Carved stone. 
Soria (Spain). 

== Description ==

This snake is located in a capital from the main portal, placed in the south side of the temple. In contrast to the sculpture from the open gallery, which is dated towards the middle of the 12th century, these figures are said to be dated from the beginning of that century. 

The animal is a pearly reptile which is rather well carved; in fact, it even has a great bulkiness. The snake is intertwined around a bird that is being seized on the snake's mouth, in addition there is an eagle located in the opposite capital from the same main portal. 

Here we can interpret the snake, as it occurs in almost every Romanesque artwork, as a symbol of the Devil. This is because traditionally this animal has been considered as its demoniacal incarnation; therefore, a symbol of evil and sin. It is possible that the presence of Evil in the entrance of the temple would be related to a warning message for the worshipers. 

== Bibliography ==

* ÁLVAREZ TERÁN, Concepción y GONZÁLEZ TEJERINA, Mercedes, “Las iglesias románicas de San Esteban de Gormaz”, Boletín del Seminario de Estudios de Arte y Arqueología, III (1935), 299-330.
*ARTIGAS Y COROMINAS, Pelayo, “Por tierras de Gesta. San Esteban de Gormaz. I. Breve noticia histórica”, Boletín de la Sociedad Española de Excursiones, XXXIX (1931), 139-154.
*________,“Por tierras de Gesta. San Esteban de Gormaz. Iii. Idea de sus monumentos y de sus principales fundaciones”, Boletín de la Sociedad Española de Excursiones, XI (1932), 221-235.
*GAYA NUÑO, Juan Antonio, El románico en la provincia de Soria. Madrid: CSIC, 1946.
*ORTEGO Y FRÍAS, Teógenes, “En torno al románico de San Esteban de Gormaz. Una fecha y dos artífices desconocidos”, Celtiberia, 13 (1957), 79-103.
*HERNANDO GARRIDO, José Luis, “San Esteban de Gormaz” en GARCÍA GUINEA, Miguel Ángel y PÉREZ GONZÁLEZ, José María (dir.), Enciclopedia del Románico en Castilla y León. Soria II. Aguilar de Campoo: Fundación Santa María la Real – Centro de estudios del Románico, 2002.

Author

Diana Olivares Martínez

File:Snake San Esteban Rivero.JPG

2011-01-23T12:33:11Z

Walker: Sanke in San Esteba Rivero, Spain

Sanke in San Esteba Rivero, Spain

Mad

2010-11-09T22:08:31Z

Walker:

The Medieval Animal Data-Network (MAD)

* Collaboration between archaeologists (archaeozoologists), biologists, historians, literary- and arthistorians

* Participating institutions so far: CEU and ELTE (Hu), OEAW (A), Reading University (UK), Liverpool University (UK), Institute for Biology, Iasi (Ru), Universidad Complutense de Madrid (Spain).

* Aims: to make available and interlink the existing knowledge on animals in the Middle Ages both source information and specialised knowledge - and to facilitate a broad collaborative participation which means that anybody interested should be able to contribute.

* WikiWeb

* URL: http://www.imareal.oeaw.ac.at/mad or http://www.imareal.oeaw.ac.at/animalwiki

* contact: ingrid.matschinegg@oeaw.ac.at | gerhard.jaritz@oeaw.ac.at | Alice Choyke choyke@ceu.hu

<hr>

[[next| back]]

Animal Wiki:Img wp t1 r6p2

2010-09-29T01:28:56Z

Walker:

*[[Bear from San Baudelio de Berlanga, Spain]] 
*[[Pig in San Isidoro de León, Spain]]

Animal Wiki:Img wp t1 r3p2

2010-09-29T01:28:29Z

Walker:

Pig

2010-09-29T01:26:29Z

Walker:

Terms: [[swillus]] [[porcus]]

Images:
*[[pigs_realonline]] 
*[[Pig in the Basilica of Colmenar Viejo (Madrid, Spain)]] 
*[[Pig in San Isidoro de León, Spain]]

Animal Wiki:Img wp t1 r3p2

2010-09-29T01:25:02Z

Walker:

*[[Bear from San Baudelio de Berlanga, Spain]] 
*[[Pig in San Isidoro de León, Spain]]

File:SAN ISIDORO PanteÃ³n. Calendario (noviembre)1.JPG

2010-09-29T01:10:12Z

Walker: Deatil of pig from November Calendar in San Isidoro de León,Spain, ca. 1100.Wall painting.

Deatil of pig from November Calendar in San Isidoro de León,Spain, ca. 1100.Wall painting.

Pig in the Basilica of Colmenar Viejo (Madrid, Spain)

2010-09-29T01:03:30Z

Walker:

== Pig ==
[[Image:Colmenar Viejo Portada Norte.JPG|left|thumb|300px|North Portal of the Basilica of the Ascension of Our Lady in Colmenar Viejo, Madrid (Spain). 16th century.]]

Pig (detail). 
Sculpture in the external archivolt. 
Basilica of the Ascension of Our Lady. 
Colmenar Viejo, Madrid (Spain). 
16th century. 

== Description ==
The north front portal of the basilica of the Ascension of Our Lady in Colmenar Viejo (Madrid), Spain, is decorated with a Pietà, with Christ on the Cross, and the coat of arms of the dukes of the Infantado, which allowed the portal to be dated around 1504. This model is typical of the Late Gothic Period. The archivolts are decorated with vegetable motives of thistle leaves between which children and a variety of animals (real and imagined) are arranged with great naturalism. This decoration is typical of the Toledo school and it has been related to Juan Guas's workshop, one of the most important masters who was employed in Toledo at the end of the 15th century. 
The decoration of these archivolts complete the iconographic program of the temple which has a symbolic character: the children represent the innocence of the soul that has to surrender to the dangers of this world, for that they have to fight against the animals that are the symbol of evil. 
In the external archivolt among the represented animals the pig can be found. The pig is the symbol of lust, gluttony, laziness, ignorance and egoism. It is represented between thistle leaves, with the snout smelling out the soil. It is represented together with a bear and a pilgrim to Santiago de Compostela. It is possible that in this context it alludes to the difficulties that the pilgrim has to overcome in his trip and, for extension, the man in walking the land. 

[[Image:Colmenar Viejo Portada Norte Cerdo.jpg|thumb|400px|Detail of the pig in the north portal of the Basilica of Colmenar Viejo, Madrid (spain). 16th century.]] 

== Bibliography ==

*Laura Rodríguez Peinado, “Las portadas de la basílica de la Asunción de Nuestra Señora de Colmenar Viejo”, in Cuadernos de Estudios, Nº 23, (Asociación Cultural "El Pico San Pedro": Colmenar Viejo 2009), 230-248

Author 
Laura Rodríguez Peinado.

Animal Wiki:Img wp t1 r3p2

2010-09-29T01:00:20Z

Walker:

*[[Bear from San Baudelio de Berlanga, Spain]]

Bear

2010-09-29T00:59:14Z

Walker:

Terms: [[ursus]] 
Images:
*[[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] 
*[[Bear in the Cathedral of Jaca, Spain]] 
*[[Bear in the Cathedral of Tudela, Spain]] 
*[[Bear from San Baudelio de Berlanga, Spain]] 
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Bear

2010-09-29T00:58:28Z

Walker:

Terms: [[ursus]] 
Images: *[[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] *[[Bear in the Cathedral of Jaca, Spain]] *[[Bear in the Cathedral of Tudela, Spain]] 
*[[Bear from San Baudelio de Berlanga, Spain]] 
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Bear

2010-09-29T00:58:03Z

Walker:

Terms: [[ursus]] 
Images: *[[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] *[[Bear in the Cathedral of Jaca, Spain]] *[[Bear in the Cathedral of Tudela, Spain]]*[[Bear from San Baudelio de Berlanga, Spain]] 
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Bear from San Baudelio de Berlanga, Spain

2010-09-29T00:57:01Z

Walker:

'''Bear'''

----

Bear. 
Hermitage of San Baudelio (Casillas de Berlanga, Soria, Spain). 
ca. 1125. 
Wall painting (fresco). 
Museo Nacional del Prado (Madrid, Spain). 

[[Image:BERLANGA oso.jpg|left|thumb|300px|Detail of Bear in the Hermitage of San Baudelio de Berlanga (Spain), ca. 1125.]]
== Description ==

The animal is placed in a rectangular panel that modifies its bottom to adapt to an arch. Represented in an unnatural way, paying no attention neither to anatomy nor to particular details such as eyes, ears, nose or hair, it appears as a red stain on a whitish background. This fact is not casual (at the time at which it was painted, not too far from the chapel bears existed that could have served as a model for the painter), but intentional. Through formal outlining the artist wanted to transmit a message whose audience were the monks who lived in the hermitage: the need to flee from temptation and sin and, according to some medieval ecclesiastical writers' identifications, the bear represented the devil itself ("ursus diabolus est" according to Melito of Sardis). As with a great part of Romanesque mural paintings, we are facing a great example of mental picture where what matters is the concept and symbolism, beyond the beauty or correctness of forms.

== Bibliography ==
* W. W. S. Cook, “Romanesque Spanish Mural Painting (II). San Baudelio de Berlanga”, The Art Bulletin, XII/1, 1930, pp. 21-42.
* J. Camón Aznar, “Pinturas mozárabes de San Baudelio de Berlanga”, Goya, 26, 1958, pp. 76-80.
* F. J. Sánchez Cantón, “Seis fragmentos de la decoración mural de San Baudelio de Berlanga en el Museo del Prado”, Celtiberia, 18, 1959, pp. 163-170.
* M. S. Frinta, “The Frescoes From San Baudelio De Berlanga”, Gesta, 1-2, 1964, pp. 9-13.
* M. Guardia Pons, Las pinturas bajas de la ermita de San Baudelio de Berlanga (Soria), Soria, 1982.
* J. D. Dodds, “Wall paintings. Hermitage of San Baudelio de Berlanga (Soria)”, en The Art of Medieval Spain, a.D. 500-1200, Nueva York, 1993, pp. 223-228.
* J. J. Dodds, “Hunting for Identity”, en Imágenes y promotores en el arte medieval. Miscelánea en homenaje a Joaquín Yarza Luaces, Bellaterra, 2001, pp. 153-165.
* M. Guardia, “Relire les espaces liturgiques à travers de la peinture murale: le programme iconographique de San Baudelio de Berlanga (Sòria)”, Cahiers de Saint-Michel de Cuxa, XXXIV, 2003, pp. 79-97.
* A. de Ávila Juárez, “San Baudelio de Berlanga: fuente sellada del Paraíso en el desierto del Duero”, Cuadernos de Arte e Iconografía, XII, 26, 2004, pp. 333-395.
* M. Poza Yagüe, “San Baudelio de Berlanga, cien años después. Balance historiográfico y nuevas interpretaciones”, Goya, nº 322 (2008), pp. 3-22.

Author

Marta Poza Yagüe

File:BERLANGA oso.jpg

2010-09-29T00:51:05Z

Walker: Bear, San Baudelio de Berlanga, Soria, Spain, ca. 1125. Wall painting.

Bear, San Baudelio de Berlanga, Soria, Spain, ca. 1125. Wall painting.

Domestic cat playing with a mouse

2010-09-28T16:47:35Z

Walker: /* Description */

'''Cat'''

----

[[Image:LutrellPsalterfol190.jpg|thumb|400px|Detail of a tabby cat playing with a mouse in the Lutrell Psalter, ca. 1340.]]

Domestic cat playing with a mouse (detail). 
Lutrell Psalter. ca. 1340. 
Commissioned by Sir Geoffrey Lutrell of Irnham. 
The British Library, Add. MS 42130, fol. 190. 
Parchment, 35,5 x 24,5 cm. 
The British Library, London. 

== Description ==

The image represents a gray and black tabby cat playing with a mouse. He is semi-standing on his hind legs playing with a small brown mouse between his front paws and open claws before the inevitable end. In this example the artist has payed close attention to the cat, rendering a very naturalistic representation of the feline and capturing part of its character. The image is located at the bottom of the folio.

== Bibliography ==

*Camille, Michael. ''Mirror in Parchment: The Luttrell Psalter and the Making of Medieval England.'' Chicago: The University of Chicago Press, 1998.
*''The Luttrell Psalter, a Facsimile''. Commentary by Michelle P. Browne. London: The British Library, 2006.
*Zuffi, Stephano. ''Cats in Art''. New York: Harry N. Abrams, Inc., 2007.

Author

Mónica Ann Walker Vadillo

Animal Wiki:Img il t1 r3p3

2010-06-15T15:02:48Z

Walker:

*[[Wildcats in the forest]]

Animal Wiki:Img il t1 r1p3

2010-06-15T15:02:11Z

Walker:

*[[Domestic cat playing with a mouse]]

Cat

2010-06-15T15:01:30Z

Walker:

Terms: 
Images: 
*[[Domestic cat playing with a mouse]] 
*[[Wildcats in the forest]]

Animal Wiki:Img il t1 r1p3

2010-06-15T15:00:20Z

Walker:

*[[Domestic cat playing with a mouse]]
*[[Wildcats in the forest]]

Wildcats in the forest

2010-06-15T14:59:24Z

Walker:

== Cat ==

[[Image:WildcatsPhebus1.jpg|thumb|400px|Wildcats in the forest. The Hunting Book of Gaston Phébus, ca. 1407.]]

Wildcats in the forest. 
The Hungting Book of Gaston Phébus. 
Written by Gaston Phébus, count of Foix and viscount of Béarn, ca. 1387-1389. 
Commissioned by Jean sans Peur, Duke of Burgundy (?) in ca. 1407. 
Parchment, 370 x 280 mm. 
Ms. Français 616, fol. 36. 
Paris, Bibliothèque nationale de France. 

== Description ==
[[Image:WildcatsPhebus3.jpg|thumb|left|300px|Detail of wildcats in the forest. The Hunting Book of Gaston Phébus, ca. 1407.]]

The Hunting Book of Gaston Phébus not only described the different stages of hunting and how to hunt different animals, but it also described animal behaviour, and among the animals that were described are the wildcats. The scene in Ms. Français 616, fol. 36 represents several wild cats in the forest in different attitudes very familiar for felines: some of them are hidden among the foliage or cracks on the ground; a cat is perched on a tree while another one is climbing the tree to get to it; others are seated or laying on the ground, or hunting rats, and there is even a she-cat with three suckling kitties. The majority of the cats are brown or gray with stripes or spots, the latter one probably trying to imitate the lynx. During the times of Gaston Phébus (1331-1391) there were many wild cats in the French forests and they were known to be bigger than the common cat. It was also a known fact that at the turn of the 14th century, the indigenous lynx was almost extinct and it was necessary to find specimens from other places to repopulate the forests.
 
 
== Bibliography ==

[[Image:WildcatsPhebus2.jpg|thumb|300px|Detail of wildcats in the forest. The Hunting Book of Gaston Phébus, ca. 1407.]]
*Anthenaise, Claude de. ''Le Livre de Chasse de Gaston Phébus''. Paris : Bibliothèque de l’image, Musée de la Chasse et de la Nature, 2002.
*Phébus, Gaston. ''The Hunting Book of Gaston Phebus: Manuscript Français 616, Paris, Bibliothèque nationale de France''. London: Harvey Miller Publishers, 1998. Facsimile of the 1405-1410 edition.
*Walther, Ingo F., and Norbert Wolf. ''Codices Illustres: Los manuscritos iluminados más bellos del mundo desde 400 hasta 1600''. Tr. Pablo Álvarez Ellacuría. London: Taschen, 2003.

Author

Mónica Ann Walker Vadillo

File:WildcatsPhebus3.jpg

2010-06-15T14:54:10Z

Walker: The Hunting Book of Gaston Phebus

The Hunting Book of Gaston Phebus

File:WildcatsPhebus2.jpg

2010-06-15T14:50:51Z

Walker: The Hunting Book of Gaston Phébus

The Hunting Book of Gaston Phébus

File:WildcatsPhebus1.jpg

2010-06-15T14:48:04Z

Walker: The Hungting Book of Gaston Phébus

The Hungting Book of Gaston Phébus

Bear

2010-06-15T09:07:43Z

Walker:

Terms: [[ursus]] 
Images: *[[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] *[[Bear in the Cathedral of Jaca, Spain]] *[[Bear in the Cathedral of Tudela, Spain]]
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Animal Wiki:Img sc t1 r6p2

2010-06-15T09:06:49Z

Walker:

*[[Bear in the Cathedral of Jaca, Spain]] 
*[[Bear in the Cathedral of Tudela, Spain]]

Bear in the Cathedral of Tudela, Spain

2010-06-15T09:06:00Z

Walker:

== Bear ==
[[Image:Oso Tudela.jpg|thumb|400px|Detail of the bear in the cloister of the Cathedral of Tudela, Spain. End of the 12th century.]]

Bear hunt 
Cloister of the cathedral of Tudela, end of the 12th century. 
Carved stone 
Navarre (Spain) 

== Description ==

The capital shows a bear attacked by two hunters armed with a spear and an axe. A hunting dog bites the bear’s ear while the prey breaks the spear with its jaws. The bear is depicted smaller than natural size, but the artist captured the robustness of the animal, emphasized by its short canon. The capital belongs to the cloister’s west gallery, whose iconography has been characterized as mainly exemplary and allegorical. In this sense, the hunting scene could be interpreted as a psychomachic combat against evil or sin represented by the bear.

== Bibliography ==

* Egry, Anne de, “La escultura del claustro de la catedral de Tudela (Navarra)”, in Príncipe de Viana, 74-75, 1959, pp. 63-107.
* Melero Moneo, María Luisa, Escultura románica y del primer gótico de Tudela. (Segunda mitad del siglo XII y primer cuarto del XIII), Tudela, Centro Cultural Castel Ruiz, 1997.
* Melero Moneo, María Luisa, “Escultura monumental. Portadas y claustro”, in La catedral de Tudela, Pamplona, Gobierno de Navarra, 2006, pp. 191-223.

Author

Francisco de Asís García García

File:Oso Tudela.jpg

2010-06-15T09:01:38Z

Walker: Bear in the cathedral of Tudela, Spain

Bear in the cathedral of Tudela, Spain

Animal Wiki:Img sc t1 r6p2

2010-06-15T09:00:16Z

Walker:

[[Bear in the Cathedral of Jaca, Spain]]

Bear

2010-06-15T08:59:30Z

Walker:

Terms: [[ursus]] 
Images: [[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] [[Bear in the Cathedral of Jaca, Spain]] 
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Bear

2010-06-15T08:58:58Z

Walker:

Terms: [[ursus]] 
Images: [[Bear in the Basilica of Colmenar Viejo (Madrid, Spain)]] 
[[Bear in the Cathedral of Jaca, Spain]] 
[[category: ursus]]
[[category: Book of Nature]]
[[category: Hortus Sanitatis]]

Bear in the Cathedral of Jaca, Spain

2010-06-15T08:58:07Z

Walker:

== Bear ==

[[Image:Oso Jaca.jpg|thumb|400px|Detail of the bear in the tympanum of the West Portal of the Cathedral of Jaca, Spain. End of the 11th century.]]

Bear trampled by a lion 
West portal of the cathedral of Jaca, tympanum, end of the 11th century 
Carved stone 
Aragon (Spain) 

== Description ==

A bear accompanied by a basilisk is trampled by the right forepaw of a lion that walks all over them. Although the depiction of the bear suffers from a certain lack of naturalism regarding its morphology, the artist has attached importance to the liveliness of the face -with open eyes and round ears- and has reflected some distinctive features of the animal like its short neck, its thick coat, and the sturdiness of its back legs.
The bear is underfoot of the powerful lion, whose size is considerably bigger to show its superiority. An inscription above the group clarifies the meaning of the scene: IMP(er)IVM MORTIS CONCVLCANS E(st) LEO FORTiS (the lion, -which stands for Christ- triumphs over the realm of death). So the bear, as well as the basilisk, belongs to evil forces, and it can be interpreted as a symbol of the Devil and sin. That meaning, which has its roots in the Bible (I Kings, 17:37) was pointed out by authors like Saint Augustine, who emphasized the negative nature of the animal.
The bear, which has been interpreted as a leontophonos by C. Kendall, is located in the right side of the tympanum, close to a Christogram and opposite to a group dominated by another Christ-lion that spares a prostrated man.

== Bibliography ==

* Gaillard, Georges, “Notes sur les tympans aragonais”, in Bulletin Hispanique, XXX (1928), pp. 193-203.
* Kendall, Calvin B., “The Verse Inscriptions of the Tympanum of Jaca and the Pax Anagram”, in Mediaevalia, 19, 1996, pp. 405-434.
* Ocón Alonso, Dulce, Tímpanos románicos españoles: reinos de Aragón y Navarra, I, Madrid, Universidad Complutense, 1987.
* Simon, David L., “El tímpano de la catedral de Jaca”, in Jaca en la Corona de Aragón (siglos XII-XVIII). XV Congreso de Historia de la Corona de Aragón, III, Zaragoza, Diputación General de Aragón, 1994, pp. 405-419.
* Weisbach, Werner, Religiöse Reform und mittelalterliche Kunst, Einsiedeln-Zürich, 1945.

Author

Francisco de Asís García García

File:Oso Jaca.jpg

2010-06-15T08:33:58Z

Walker: Bear in the Cathedral of Jaca, Spain

Bear in the Cathedral of Jaca, Spain