Of course, this is by no means historic evidence, it's more an example of the common notion of his appearance – and, admittedly, a rather extreme one.
(And, as already mentioned, Umberto Eco kind of made fun of the semblance.)
Regarding Ovid's name, I think, there was kind of a joy in circular evidence, more for aesthetic reasons than others. Compare, "artifex generale nomen vocatur quod artem faciat" (Isidore), or the notion that the lion indeed obscures its tracks by wiping its path by its wagging tail, because the lion is thus the example of Christianity preserving its secrets from its pagan enemies. There's a medieval joy, even satisfaction, in closures and folds, like this.
(And, as already mentioned, Umberto Eco kind of made fun of the semblance.)
Regarding Ovid's name, I think, there was kind of a joy in circular evidence, more for aesthetic reasons than others. Compare, "artifex generale nomen vocatur quod artem faciat" (Isidore), or the notion that the lion indeed obscures its tracks by wiping its path by its wagging tail, because the lion is thus the example of Christianity preserving its secrets from its pagan enemies. There's a medieval joy, even satisfaction, in closures and folds, like this.