In a diary entry written by apothecary Luca Landucci from 1512 states:
We heard that a monster had been born at Ravenna, of which a drawing was sent here; it had a horn on its head, straight up like a sword, and instead of arms it had two wings like a bat’s, and at the height of the breasts it had a fio [y-shaped mark] on one side and a cross on the other, and lower down at the waist, two serpents, and it was a hermaphrodite, and on the right knee it had an eye, and its left foot was like an eagle’s. I saw it painted, and anyone who wished could see this painting in Florence.[1]
In Michelangelo and the Pope’s Ceiling by Ross King, a mention is made of this monster born in March 1512 at the city of Ravenna as cited above. Ross states that this monster was utilized in a sermon by Egidio da Viterbo during mass on the first day of The 5th Lateran Council where Egidio announced to the assembly that the military defeat at Ravenna was divine judgment and was foretold by the birth of this monster which occurred eighteen days prior to their trouncing. [2] In this sermon Viterbo utilizes the birth of this deformed child as a portent of the military defeat that had befallen Ravenna and all the current dire circumstances Italy was experiencing were because the Lord was displeased with the Church of Rome. [3]
This intriguing mention reawakens an area of curiosity and wonder for these marvelous stories of the unknown and macabre which stir the cauldron of imagination for this writer. In my youth, the stories about Joseph Merrick, werewolves, hirusites, and all the creatures which dwell in the shadows of daily life have always intrigued this writer with all their possibilities and magic. On screen, in art, and through the countless books consumed, the hunger to meet and listen to them has never abated. In this stunted exposition, a minutest meandering will occur which will just brush upon the hems of our collective nightmares and what they can teach us.
In the following few pages, it will be briefly demonstrated how monsters are useful for seeing ourselves and the world by offering us a blunt perspective, by challenging otherness, and giving us mirrors to reflect upon as we tremble with uncertainty and unease just beyond the safety of the evening fire. In this paper the questions of what were the monstrous to the premodern world? What the potential meaning and purpose such creatures may have held for the people of that time so bound by the Church? What did these creatures give to history?
Our first step is to define monster, a vital component which articulates much about how they have been understood at a basic level. In nearly every book on this topic somewhere in the early pages the meaning is laid out before the reader communicating that the etymological root is in the Latin mostrare which carries the meaning both to show and also to warn or advise. [4] A root which goes at least as far back as Augustine who saw monstrous births as demonstrating something significant in a visual form.[5] It is from this origin that we become aware that monsters are a type of educational or instructional thing or being. That in their existence we must find some knowledge or insights for life in their twisted and macabre actuality. The monsters were guides, instructors, and even prophets and they were to be heeded. (cont'd)
CLICK HERE to continue reading The Monster of Ravenna - Draper
BONUS MATERIAL: Video - The Monstrous Other in Medieval Art by Asa Simon Mittman with Sherry C.M. Lindquist
Notes:
[1] Touba Ghadessi, Portraits of Human Monsters in the Renaissance: Dwarves, Hirsutes, and Castrati as Idealized Anatomical Anomalies, Monsters, Prodigies, and Demons: Medieval and Early Modern Construction of Alterity (Kalamazoo: Western Michigan University Medieval Institute Publications, 2018), PDF e-book, 12.
[2] As this paragraph is being written, it so happens to be the 508th anniversary of this sermon which took place May 3, 1512, spooky.
[3] Ross King, Michelangelo and the Pope’s Ceiling (New York: Penguin Books, 2003), 253.
[4] Alexa Wright, Monstrosity: The Human Monster in Visual Culture (New York: I.B. Tauris, 2013), E-book, 3. Additional readings seem to back Wrights claim of definition prevalence as found in the readings done for this paper which include the following where similar definitions are found: Elizabeth B. Bearden, Monstrous Kinds: Body, Space, and Narrative in Renaissance Representations of Disability. Corporealities: Discourses of Disability Series. (Ann Arbor: University of Michigan Press, 2019) , PDF e-book, Bettina Bildhauer and Robert Mills, eds., The Monstrous Middle Ages (Toronto: University of Toronto Press, 2003), PDF e-book, Jeffrey Jerome Cohen, Of Giants: Sex, Monsters, and the Middle Ages. Medieval Cultures Volume 17 (Minneapolis: University of Minnesota Press, 1999), PDF e-book, John Block Friedman, The Monstrous Races in Medieval Art and Thought (Syracuse: Syracuse University Press, 2000), PDF e-book, Touba Ghadessi, Portraits of Human Monsters in the Renaissance: Dwarves, Hirsutes, and Castrati as Idealized Anatomical Anomalies, Monsters, Prodigies, and Demons: Medieval and Early Modern Construction of Alterity(Kalamazoo: Western Michigan University Medieval Institute Publications, 2018), PDF e-book, David Gilmore, Monsters: Evil Beings, Mythical Beasts, and All Manner of Imaginary Terrors (Philadelphia: University of Pennsylvania Press, 2003), PDF e-book, Richard H. Godden and Asa Simon Mittman, eds., Monstrosity, Disability, and the Posthuman in the Medieval and Early Modern World. The New Middle Ages (Cham: Palgrave Macmillan, 2019), PDF e-book, Iris Idelson-Shein and Christian Wiese, eds., Monsters and Monstrosity in Jewish History: From the Middle Ages to Modernity (New York: Bloomsbury Academic, 2019), PDF e-book, Jennifer Spinks, Monstrous Births and Visual Culture in Sixteenth Century Germany. Number 5. Religious Cultures in The Early Modern World. (London: Routledge, 2009), PDF e-book.
[5] Jennifer Spinks, Monstrous Births and Visual Culture in Sixteenth Century Germany. Number 5. Religious Cultures in The Early Modern World (London: Routledge, 2009), PDF e-book, 8.
Comments