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Chapter Summary

This epilogue presents some concluding thoughts by the author. There is no contradiction between the metaphorical and symbolic approach, to which Renaissance animal imagery was inextricably bound, and the florescent naturalism of the fourteenth and fifteenth centuries. Iconographic theories and methods promoted by the German school of art-history before the Second World War, and largely promoted. The use of symbolic medieval imagery, and animal images in particular, was never static. The case studies discussed in the book illustrate various ways in which Renaissance artists revived conventional animal imagery in new contexts, investing them with new meanings, whether on a social, political, ethical, religious or psychological level. We find that the accumulated appendages of traditional interpretations, and the application of exegetical methodology in creating multiple semantic and iconographical levels, were indispensable to the artist.

Keywords: florescent naturalism; German school of art-history; iconographic theories; Renaissance animal imagery; symbolic medieval imagery



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