ABSTRACT
Michael Camille notes that “the monster is a material creature, a creation.” 1 But whose creation? Certainly, insofar as they were believed to exist literally at the other end of the world, they are God's; on the other hand these painted images are human creations, medieval Frankenstein's monsters cobbled together out of various parts of various known creatures. Their hybridity is an essential component of both their monstrosity and their “continued popularity, usefulness, and appeal.” 2 Indeed, the physical bodies of these monsters, the skin on which they are written and the inks in which they are painted, were no less violently hybrid in their constitution.
