From Library Journal
Because the emphasis of medieval art was primarily religious, the figure of the Devil played a frequent, forbidding role. The symbolism of the Devil yielded to many influences through time and cultural change. Following the evolution of this motif, Link (literature, Aoyama Gakuin Univ., Tokyo) examines the art and literature of the Middle Ages, leaning heavily on literary references. Though his topic could have been fascinating, Link fails to provide a cohesive treatise. Instead of following historical developments, he jumps from concept to concept. The illustrations, though pertinent, are not always coordinated with the text. The research is insightful, but the lack of organization and curt, choppy text get in the way. Only for larger academic libraries.?Karen Ellis, Baldwin Boettcher Lib., Humble, Tex.
Copyright 1996 Reed Business Information, Inc.
From Kirkus Reviews
Our communal obsessions seem to have shifted--at least in the area of supernatural beings: Angels are pass, the Devil is ``in.'' Andrew Delbanco calls for his resurrection; psychoanalyst Carl Goldberg uses the phrase ``speaking with the devil'' as a metaphor for his work with malevolent patients; Elaine Pagels scrutinizes Satan's roots. Even Philip Roth's Mickey Sabbath (or is it Mickey Sabbat?) bears a striking resemblance to the proud, rebellious, orgiastic Prince of Darkness. And now we are treated to his image in art. Link, a scholar of Elizabethan drama, considers the development of Satan in Western sculpture and painting: the supposed impact of the hairy, horned Pan; the role of the Egyptian dwarf deity, Bes; the addition of black bat-wings in the 14th century, in the work of Giotto. But, according to Link, the Devil never attained the power in visual art that he did in literature. Just as well--he is perhaps a creature who flourishes best in the imagination. But, please--no books about people's personal encounters with the fallen angel. -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.