Simona Cohen, Phd. in Art History (1982), Tel-Aviv University, is Senior Lecturer there. She has published extensively on problems of Renaissance iconography, Venetian art and animal symbolism. Indian Art History is her second academic field of research and teaching.

• List of IllustrationsAcknowledgementsIntroductionI. THE HERITAGE AND SOURCES1. Medieval Sources of Renaissance Animal SymbolismConcealing the Tracks: The Physiologus and Bestiary TraditionA Monkey on the Roof: Animal Moralizations in Exempla Literature and SermonsAnimal Moralizations in Medieval EncyclopediasThe Psychomachia Tradition and Images of Mounted Vices2. Renaissance Naturalists and Animal Symbolism: Fact and FantasyBestiaries of the Fifteenth Century: The Monsters of Pier Candido Decembrio’s De animantium naturisThe Timid Hare and Lustful Camel: Leonardo da Vinci’s BestiaryNatural History in the Sixteenth Century3. Emblematic Literature and Related SourcesAndrea Alciato’s Emblematum Libellus: Its Sources and InfluenceThe Symbola et emblemata of Joachim CamerariusThe Traditional and Retrospective Aspect of the Renaissance EmblemII. CASE STUDIES4. The Birds and Animals of Carpaccio’s Miles Christianus5. The Enigma of Carpaccio’s Venetian Ladies6. Animals in the Paintings of Titian: A Key to Hidden Meanings7. Titian’s London Allegory and the Three Beasts of his Selva Oscura8. Animal Heads and Hybrid Creatures: The Case of the San Lorenzo Lavabo and its Sources9. Andrea del Sarto’s Madonna of the Harpies and the Human-Animal Hybrid in the Renaissance10. The Ambivalent Scorpio in Bronzino’s London AllegoryEpilogueSelect BibliographyIndex

"...a fascinating and erudite iconographical study.... the scholarship is exemplary. The book is well-written in a lively and engaging style, it is logically structured, beautifully illustrated, with an excellent index, select bibliography and epilogue. The book provides an extremely useful starting point for anyone whose work touches on animals and their meanings in Renaissance culture."Erin Campbell, Renaissance Quarterly, 62:912–913, Fall 2009

Simona Cohen, Phd. in Art History (1982), Tel-Aviv University, is Senior Lecturer there. She has published extensively on problems of Renaissance iconography, Venetian art and animal symbolism. Indian Art History is her second academic field of research and teaching.

• List of IllustrationsAcknowledgementsIntroductionI. THE HERITAGE AND SOURCES1. Medieval Sources of Renaissance Animal SymbolismConcealing the Tracks: The Physiologus and Bestiary TraditionA Monkey on the Roof: Animal Moralizations in Exempla Literature and SermonsAnimal Moralizations in Medieval EncyclopediasThe Psychomachia Tradition and Images of Mounted Vices2. Renaissance Naturalists and Animal Symbolism: Fact and FantasyBestiaries of the Fifteenth Century: The Monsters of Pier Candido Decembrio’s De animantium naturisThe Timid Hare and Lustful Camel: Leonardo da Vinci’s BestiaryNatural History in the Sixteenth Century3. Emblematic Literature and Related SourcesAndrea Alciato’s Emblematum Libellus: Its Sources and InfluenceThe Symbola et emblemata of Joachim CamerariusThe Traditional and Retrospective Aspect of the Renaissance EmblemII. CASE STUDIES4. The Birds and Animals of Carpaccio’s Miles Christianus5. The Enigma of Carpaccio’s Venetian Ladies6. Animals in the Paintings of Titian: A Key to Hidden Meanings7. Titian’s London Allegory and the Three Beasts of his Selva Oscura8. Animal Heads and Hybrid Creatures: The Case of the San Lorenzo Lavabo and its Sources9. Andrea del Sarto’s Madonna of the Harpies and the Human-Animal Hybrid in the Renaissance10. The Ambivalent Scorpio in Bronzino’s London AllegoryEpilogueSelect BibliographyIndex

"...a fascinating and erudite iconographical study.... the scholarship is exemplary. The book is well-written in a lively and engaging style, it is logically structured, beautifully illustrated, with an excellent index, select bibliography and epilogue. The book provides an extremely useful starting point for anyone whose work touches on animals and their meanings in Renaissance culture."Erin Campbell, Renaissance Quarterly, 62:912–913, Fall 2009

Simona Cohen, Phd. in Art History (1982), Tel-Aviv University, is Senior Lecturer there. She has published extensively on problems of Renaissance iconography, Venetian art and animal symbolism. Indian Art History is her second academic field of research and teaching.

• List of IllustrationsAcknowledgementsIntroductionI. THE HERITAGE AND SOURCES1. Medieval Sources of Renaissance Animal SymbolismConcealing the Tracks: The Physiologus and Bestiary TraditionA Monkey on the Roof: Animal Moralizations in Exempla Literature and SermonsAnimal Moralizations in Medieval EncyclopediasThe Psychomachia Tradition and Images of Mounted Vices2. Renaissance Naturalists and Animal Symbolism: Fact and FantasyBestiaries of the Fifteenth Century: The Monsters of Pier Candido Decembrio’s De animantium naturisThe Timid Hare and Lustful Camel: Leonardo da Vinci’s BestiaryNatural History in the Sixteenth Century3. Emblematic Literature and Related SourcesAndrea Alciato’s Emblematum Libellus: Its Sources and InfluenceThe Symbola et emblemata of Joachim CamerariusThe Traditional and Retrospective Aspect of the Renaissance EmblemII. CASE STUDIES4. The Birds and Animals of Carpaccio’s Miles Christianus5. The Enigma of Carpaccio’s Venetian Ladies6. Animals in the Paintings of Titian: A Key to Hidden Meanings7. Titian’s London Allegory and the Three Beasts of his Selva Oscura8. Animal Heads and Hybrid Creatures: The Case of the San Lorenzo Lavabo and its Sources9. Andrea del Sarto’s Madonna of the Harpies and the Human-Animal Hybrid in the Renaissance10. The Ambivalent Scorpio in Bronzino’s London AllegoryEpilogueSelect BibliographyIndex

"...a fascinating and erudite iconographical study.... the scholarship is exemplary. The book is well-written in a lively and engaging style, it is logically structured, beautifully illustrated, with an excellent index, select bibliography and epilogue. The book provides an extremely useful starting point for anyone whose work touches on animals and their meanings in Renaissance culture."Erin Campbell, Renaissance Quarterly, 62:912–913, Fall 2009