Slow Looking

The manuscript illustration the Werewolves of Ossory sits alongside the story of the same name, published in the Topographia Hiberniae by Gerald of Wales. This story tells of two villagers, cursed to become werewolves.  When one of them falls ill, the other goes in search of a priest to perform the last rites. The illustration is of the moment the last rites are performed for the wolf, in its cave. Gerald of Wales’ Topographia Hiberniae was often published alongside bestiarys, a publication featuring mythical and real beasts that was used to “communicate a moral message from God to mankind”, an interesting book to be connected to because werewolves are notably absent from all bestiaries of the time. 

This illustration shows a docile werewolf in search of Christian rites, a idea attached to the humility and fear of death experienced by humans, contrary to   the typical medieval werewolf’s evilness. There is a softness and humaness to this werewolf.  Hunched forward, with paws gently raised, with its mouth open to receiving but not attacking, the werewolf conveys humility and appreciation.  It does not seem violent or predatory.  The soft etched lines on its back, its fluffy tail, and blue-ish colour all add to its approachability.  There is almost a sense that the creature is content and perhaps is even smiling. Interestingly, this werewolf is connected in community - another werewolf, who has sought help for her, looks on with care. 

In contrast, a woodcut done by Lucas Cranach the Elder, entitled The Werewolf, demonstrates a violent and savage werewolf, a concept people had grown accustomed to seeing. The hairy creature, on all fours, with baby hanging in its mouth is horrifying. Similarly Otto Schubert’s St Francis and the Wolf depicts a wolf who also has committed heinous acts, although it does show him feeling remorseful and talking to a priest about repentance.  He is wiry, erect and his teeth show. These images continue to be the more prominent werewolf depictions, pushing the docile werewolf of Gerald of Wales and Marie de France to the background. A 19th century engraving called Loup Garou is meant to be reminiscent of a medieval manuscript.  It’s werewolf shows its fangs, biting into a women’s flesh, with arm violently raised, amplifying the aggressiveness of the monster.  The artist chose  to go with the savage beast, devouring a young beautiful woman, instead of a more humane one.