flame in Purgatory. He wrote "If, therefore, the salamander lives in fire, as naturalists have recorded, and if certain famous mountains of Sicily have been continually on fire from the remotest antiquity until now, and yet remain entire, these are sufficiently convincing examples that everything which burns is not consumed." Medieval lore After the end of the Classical era, depictions of the salamander became more fantastic and stylized, often retaining little resemblance to the animal described by ancient authors. In Medieval European bestiaries, fanciful depictions of salamanders include "a satyr-like creature in a circular wooden tub" (8th century), "a worm penetrating flames" (12th century), "a winged dog" (13th century), and "a small bird in flames" (13th century). A frequently-cited illustration of a salamander is presented in an influential 20th-century occult work by Manly P. Hall, Secret Teachings of All Ages, in which it is attributed to Paracelsus. This illustration appears to originate in a 1527 anti-papal tract by Andreas Osiander and Hans Sachs, where it is identified as "the Pope as a monster". Its association with Paracelsus derives from his Auslegung der Magischen Figuren im Carthäuser Kloster zu Nũrnberg in which the author presents explanations of some illustrations found in a Carthusian monastery in Nuremberg; the illustration in question he labels as "a salamander or desolate worm with a human head and crowned with a crown and a pope hat thereon," which is later explained to represent the Pope. Catholic Archbishop Raymund Netzhammer (1862–1945) explained that the set of woodcuts it belongs to was commissioned by Osiander based on some old "pope illustrations" found at the monastery, which Netzhammer thought may have dated back to the time of Joachim of Fiore (d. 1202) and were intended as cartoons mocking the Pope and the Church. Renaissance lore: Europe Compared to Medieval depictions, Renaissance depictions are characteristically more realistic, adhering more closely to the Classical description. In another example, a 1556 edition of the Book of Lambspring depicts the salamander as a white bird, while Lucas Jennis' 1625 version of the same illustration, included in the Musaeum Hermeticum, depicts it as a lizard-like animal with star-like markings (see right). Of all the traits ascribed to salamanders, the ones relating to fire have stood out most prominently. This connection probably originates from a behavior common to many species of salamander: hibernating in and under rotting logs. When wood was brought indoors and put