The beasts and their tales became so familiar that they often escaped from the pages to inhabit an array of works of art, ranging from ivories and metalwork to stained glass and tapestries. The bestiary brought creatures both real and fantastic to life before the reader’s eyes, offering devotional inspiration Because medieval Christians understood every element of the world as a manifestation of God, the book largely focused on each animal’s religious meaning. Authors may use MDPI'sĮnglish editing service prior to publication or during author revisions.A kind of encyclopedia of animals, the bestiary was among the most popular illuminated texts in northern Europe during the Middle Ages (about 500–1500). Submitted papers should be well formatted and use good English. The Article Processing Charge (APC) for publication in this open access journal is 1200 CHF (Swiss Francs). Please visit the Instructions for Authors page before submitting a manuscript. Arts is an international peer-reviewed open access semimonthly journal published by MDPI. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. All manuscripts are thoroughly refereed through a double-blind peer-review process. Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website. Research articles, review articles as well as short communications are invited. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. All submissions that pass pre-check are peer-reviewed. Manuscripts can be submitted until the deadline. Once you are registered, click here to go to the submission form. Manuscripts should be submitted online at by registering and logging in to this website. The editor also welcomes inquiries concerning topics contributors are considering for submission. We invite potential contributors from a wide variety of scholarly disciplines: literature studies art history the history of science medical history and more. What are the reasons for the changes we observe? How did, perhaps, a copyist’s error, lead to the medieval version of a given animal or animal–monster? Did the objectives of a given author influence how s/he portrayed the animal? When a story moved from the written word to artistic representations, was it faithful to the original or not, and what forces were at work surrounding any change that occurred? This Special Issue will explore phenomena just like those mentioned above. This is the sort of narrative mutation that occurs as animals and animal–monsters make their way from Classical sources to the Middle Ages. The end product is then compared to the original and is inevitably very different from it. In the parlor game “Telephone,” a person reads a prepared text and relates it to another player, that player relates it to another, and so on until each player has heard the text. The winged horse Pegasus, for example, is described in Albertus Magnus’ De animalibus (22.132) as “very large and horrible,” is given a horned head that terrifies other animals who see it, and is especially hostile to humans. Many creatures from Greek and Roman mythology are to be found in these works and have often been significantly changed. Ancient Greco-Roman literature studying animals and reports of animal lore are extremely long-lived, in some cases, surviving from Homer, through the Physiologus, and into the bestiaries of medieval times, often with contemporary illustrations. Animal studies is among the most quickly growing subfields in Classical and Medieval studies.
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