Hostname: page-component-78c5997874-ndw9j Total loading time: 0 Render date: 2024-11-02T18:26:43.088Z Has data issue: false hasContentIssue false
  • English
  • Français

H. W. Janson, Apes and Ape Lore in the Middle Ages and the Renaissance (Studies of the Warburg Institute, ed. H. Frankfort, Vol. 20) London: The Warburg Institute, University of London, 1952. P. 384. Frontispiece, 57 pl. (=153 ill.), 30 text fig.

Published online by Cambridge University Press:  20 November 2018

W. S. Heckscher
W. S. Heckscher*
Affiliation:
Institute for Advanced Study
Get access

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Notes on Publications
Information
Renaissance News , Volume 5 , Issue 1 , Spring 1952 , pp. 12 - 13
Copyright
Copyright © Renaissance Society of America 1952

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Based on ‘final page proofs, uncorrected,’ which recently I had the privilege to examine, lovingly if rather hurriedly.

2 I. Figura Diaboli: The Ape in Early Christianity; II. The Ape as the Sinner; III. Similitudo Hominis: The Ape in Medieval Science; IV. The Ape and the Fall of Man; V. The Fettered Ape; VI. The Ape in Gothic Marginal Art; VII. Apes, Folly and Vanitas; VIII. Apes, the Senses and the Humours; IX. The Sexuality of Apes; X. Ars Simia Naturae; XI. The Coming of the Anthropoids.

3 For the ape as a tragic symbol of unjust suffering of minorities, cf. p. 200 (on fools); Christ and the fettered monkey set in parallel, p. 150; Jefferson's ‘unfortunate analogy,’ p. 276.

4 P. 173f. for the brilliant literary reconstruction of this motif leading back to Antiquity. For the reverse situation in which the Renaissance aids in explaining a mediaeval problem, cf. the use of Hamlet's ‘famous ape,’ to explain an obscure passage in Hildegard of Bingen, p. 176f.

5 Dr. Johnson: ‘I would rather see a painting of a dog than all the allegorical painting in the World.’