Our Neighbors as Hidden Monsters

The threat of monsters was not contained to distant lands. Monstrosity also threatened the core of the West. Heretical groups and those outside the bounds of ecclesial power were considered a threat to societal structure. Thus, they also become associated with monstrosity. While it was easy to imagine people from distant lands as monsters, that was not as easy for groups you encountered daily. It was abundantly clear that they did not look like a monster. How then could theologians emphasize the danger they posed? The answer became to cast their monstrosity as hidden away, and thus even more dangerous. These were beings like witches or werewolves. They might fit into everyday society but hid a power that threatened traditional structures. These same figures remain powerful images for us today as we deal with the same fears. They embody the fear of small numbers and the threat they carry.

Irish Version of the Historia Britonum of Nennius

James Henthorn Todd (1805-1869)

Dublin: Printed for the Irish Archaeological Society (1848)

1848 TODD A, pp. 204–205

This is a 19th Century translation on the 9th Century Historia Brittonum attributed to Welsh monk Nennius. Being the “Irish Version,” the translator primarily includes passages related to Irish history. That includes this passage about werewolves in the Irish kingdom of Ossory. In the story, St. Natalis cursed a local clan to make them werewolves after they committed a now unknown sin. Since the sin remains hidden, so does their monstrosity. Yet they remain a danger for their neighbors, threatening to break out at any point.

The Temptation of St. Anthony the Great

MSS 356

Like transformations, the threat of demonic possession played a role in imagining hidden monsters. This poster shows a host of demons tempting the desert father St. Anthony. In The Life of Anthony, Athanasius describes the demons as shapeshifters that appear as wild beasts or seductive women. The monsters in this image take several forms, almost resembling a poster for a horror movie. This contrasts with Antony’s human appearance in the center. While he remains human, this poster makes visible the hidden threat of monstrous influences on humanity. If demons lurked in the shadows, they might impact any regular human.

Dante’s Inferno: Translated by the Rev. Henry Francis Cary, M.A. from the Original of Dante Alighieri, and illustrated with the designs of M. Gustave Doré

Dante Alighieri (1265-1321) and Gustave Doré, illustrator (1832-1883)

London: Cassell, Peter, Galpin & Co. (1866)

1866 DANT, p. 113

Human depictions of demons like this one were common throughout Medieval Europe. The popularity of Dante's Divine Comedy, however, contributed to their lasting impression. Many artists have drawn or sculpted the demons Dante described, helping to spread the image. Perhaps most famous are the detailed illustrations of Gustave Doré in this edition. While Dante imaged demons in a variety of forms, those resembling humans were especially popular among artists. The Malabranche pictured here were quite humanoid, along with their famous bat-like wings. Their imp-like appearance and pitchforks influence our image of the devil today.

Decem praecepta Wittenbergensi praedicata populo

Martin Luther (1483-1546)

Wittenberg: Ioannem Viridimontanum (1518)

1518 LUTH D, p. A iv

Witchcraft was a common concern during Luther's lifetime. There was a lot of economic and religious uncertainty in the wake of the Reformation. As such, people sought explanations for why crops died or people fell ill. Religious minorities like the Waldensians became easy targets. Their mysterious lifestyles was one aspect of the uncertainty of time, and so easy to associate with witchcraft. Luther in this sermon, however, argues that we should not fear witches. While they are dangerous, like the devil in Job they are under God's control. Their presence instead requires more faith in God's influence. Luther's sermon unfortunately did little to slow the witch hunts of Reformation-Era Germany. He would in fact go on to oversee several trials and executions of witches himself.

Tribunal of the Inquisition at Barcelona records, 1693-1703

Inquisitor General de España

Barcelona (1693-1703)

MSS 009

This portfolio includes official trial records of people accused during the Spanish Inquisition. The institutional structure of the Inquisition is often imagined as harsh and intolerant. These records, however, attest to the ways the formal structure prevented more severe punishments. We even have instances where the Inquisitorial Court reduced sentences for witchcraft passed by secular courts. The materiality of this volume attests to the importance of those governing structures. It contains the handwriting of several people who would have carefully investigated each case. It is also bound in a limp vellum (similar to a paperback book), so it could be easily carried around. Both reflect the institutional nature of these investigations.

Mary Schweidler, the Amber Witch: The Most Interesting Trial for Witchcraft Ever Known, Printed from an Imperfect Manuscript by Her Father, Abraham Schweidler, the pastor of Coserow, in the Island of Usedom

Wilhelm Meinhold (1797-1851)

New York: Wiley and Putnam (1845)

1845 MEIN:1, title page

The fear associated with witch trials later became a popular motif in literature. Gothic writers like Mary Shelley used monsters to think about societal structures. In this book, Wilhelm Meinhold uses a history of German witch scares for a similar purpose. From the title, we see how Meinhold gives the impression this is an old story he has recently rediscovered. This helps give the tale an aura of truth. In that guise, he is able to turn our attention to the jealousy and scandal behind accusations of witchcraft. The effect leaves the reader questioning who the real monsters are. Is it the witches of a society set up to persecute them?