Unicorn salient.[11]

The Unicorn

The unicorn is represented by heraldic usage as having the head and body of a horse, with the tail of a lion, and the limbs and hoofs of a stag; a twisted horn grows out from the centre of its forehead. It is rarely met with as a coat-of-arms. As a crest or supporter it is of more frequent occurrence. A unicorn’s head is a favourite bearing, either erased, or couped, at the shoulder, and always represented in profile.

Crest: A Unicorn’s head, couped.

The unicorn was a famous device all over Europe, and symbolised the virtue of the mind and the strength of the body. It is well known as a supporter of the Royal Arms of England, a position it has occupied since the accession of James VI. of Scotland to the English throne as James I. Two silver unicorns were the supporters to the arms of that kingdom. On the legislative union with England, the red dragon of Wales, introduced by Henry VII., gave place to the unicorn as the sinister supporter.

James III. of Scotland had it figured on coins which were thence called “unicorns.” James V. first used it with the national arms as supporters. Although the silver unicorn came into England with James I., Queen Jane Seymour had already adopted it.

“Unicorn” was the pursuivant of Lord Lyon King-at-Arms, the Royal Scottish Herald.

As a supporter to the Royal arms it is thus blazoned: A unicorn argent, armed, unguled, crined and gorged or, with a royal coronet (i.e., composed of crosses patÉe and fleurs-de-lis), having a chain affixed thereto, and reflexed over his back of the last. The term “armed” has reference to his horn, “unguled” to his hoofs, and “crined” to his flowing mane. “Gorged” implies that the coronet encircles his “gorge” or throat. The term “or” (that is, the metal gold or the tincture of it) being only mentioned after the several parts implies that they are all alike to be gold. “Of the last” means of the last colour mentioned.

In “The History of Caricature and Grotesque in Literature and Art,” by Thomas Wright, M.A., F.S.A. (p. 8), appears a curious illustration from an Egyptian papyrus of the Roman period, in the British Museum. It represents a lion and a unicorn playing a game resembling draughts, perhaps the earliest instance of the two animals depicted in conjunction. As the author says: “The lion has evidently gained the victory and is fingering the money; his bold air of swaggering superiority as well as the look of surprise and disappointment of his vanquished opponent are by no means ill-pictured.”

The animosity which existed between the lion and unicorn is referred to by Spenser, and is allegorical of the animosity which once existed between England and Scotland:

“Like as a lyon whose imperiall powre
A proud rebellious unicorne defyes.”
Faerie Queen, ii. 5.

MediÆval Conception of the Unicorn

The mediÆval conception of the unicorn as the water-conner of the beasts was doubtless suggested by that belief of earlier ages which made the unicorn not merely symbolical of virtue and purity, but the more immediate emblem of Christ as the horn of our salvation (Psalms xcii. 10 and lxxxix. 17, 24), expressly receiving its general fulfilment in him (St. Luke i. 69). The horn, as an antidote to all poison, was also believed to be emblematical of the conquering or destruction of sin by the Messiah, and as such it appears in the catacombs at Rome. The unicorn is the companion of St. Justiana, as an emblem betokening in the beautiful legend her pure mind, resisting all the Geraldine-like dreams sent by magic art to haunt her, till she converted her tormentor himself.

He is remarkable, say the old writers, for his great strength, but more for his great and haughty mind, as he would rather die than be brought into subjection (Job xxxix. 10-12).

It was believed the only way to capture him was to leave a beautiful young virgin in the place where he resorted. When the animal perceived her, he would come and lie quietly down beside her, resting his head upon her lap, and fall asleep, when he would be surprised by the hunters who lay in wait to destroy him.

The Legend of the Unicorn.

The unicorn is one of the most famous of all the chimerical monsters of antiquity. The Scriptures make repeated mention of such a creature, but of its shape we can form little conception. In Early Christian Art the unicorn symbolised the highest and purest virtue; not only was it one of the noblest bearings in the heraldry of the Middle Ages, but was viewed as the immediate emblem of our Blessed Lord. Philippe de Thaun says in his “Bestiarius”:

“MonocÉros est beste
Une corne a en la tÊte
Cette beste en veritÉ nous signifie Dieu.”

Whence comes the unicorn? It is older than the days of Job. Among the hieroglyphics of Ancient Egypt this wonderful creature is depicted. Sometimes the body is that of an ass, sometimes that of a bull, sometimes that of a horse with the long twisted frontal horn for which he is noted. Is the myth derived from some mysterious single-horned antelope, as has been said, or is the one-horned rhinoceros the prototype of the legendary unicorn? As an emblem it figures on the obelisks of Nimroud and the catacombs of Rome. We read of this strange creature in Herodotus, and in Aristotle, who calls it the “wild ass”; Pliny calls it the “Indian ass,” describing it as like a horse with a horn fixed in the front of his head. CÆsar counts it among the fauna of the Hyrcinian Forest. The earliest author who describes it is Ctesias (B.C. 400), who derives it from India. According to an Eastern legend the unicorn is found in Abyssinia. Lobo also describes it in his history of that country: there the animals are undisturbed by man, and live after their own laws. “Of the many ancient and famous men,” says a modern writer, “who have written about the unicorn, no two seem to agree except when they copy from one another.”

“Some writers” (says Guillim, p. 175) “have made doubt whether there be any such beast as this or no. But the great esteem of his horn (in many places to be seen) may take away that needless scruple.”

The Horn of the Unicorn

The horn of the unicorn was supposed to be the most powerful antidote against, as it was a sure test of, poisons. He was therefore invested by the other beasts of the forest with the office of “water-conner,” none daring to taste of fountain or pool until he had stirred the water with his horn, to discover whether any dragon or serpent had deposited his venom therein, and render it innocuous. So complete was the faith in the efficacy of the wonder-working horn as a test of poisons, that fabulous store was set upon the possession of even a portion. In old inventories the “Essai” of Unicorn’s horn is frequently mentioned.

An Italian author who visited England in the reign of Henry VII., speaking of the wealth of the religious houses in this country, says: “And I have been informed that, amongst other things, many of these monasteries possess unicorns’ horns of an extraordinary size.” Hence such a horn was worthy to be placed among the royal jewels. At the head of an inventory taken in the first year of Queen Elizabeth and preserved in the Harleian Library (No. 5953) we read “Imprimis, a piece of unicorn’s horn,” which, as probably the most important object, is named first. This was no doubt the piece seen by the German traveller Hentzner, at Windsor: “We were shown here, among other things, the horn of a unicorn of about eight spans and a half in length, valued at about £10,000.” Peacham places “that horne of Windsor, of an unicorn very likely,” amongst the sights worth seeing.

“One little cup of unicorn’s horn” was also in possession of Queen Elizabeth, and was subsequently given by James I. to his Queen.

Alviano, a celebrated general of the Venetian Republic, when he took Viterbo, and dispersed the Gatesca faction, whom he called the poison of the city, caused to be embroidered upon his standard a unicorn at a fountain surrounded by snakes and toads and other reptiles, and stirring up the water with his horn before he drinks, with the motto or legend “Venene pello” (I expel poison). Although the unicorn has not been seen and described by any modern writer, its horn has been occasionally found, sometimes preserved in museums, but alas! the cherished horn, whenever it is examined, turns out to be a narwhal’s tooth. To this, Wood’s “Natural History” makes special reference: “In former days, an entire tusk of a narwhal was considered to possess an inestimable value, for it was looked upon as the weapon of the veritable unicorn reft from his forehead in despite of his supernatural strength and intellect. Setting aside the rarity of the thing, it derived a practical value from its presumed capability of disarming all poisons of their terrors, and of changing the deadliest draught into a wholesome beverage.”

This antidotal potency was thought to be of vital service to the unicorn, whose residence was in the desert among all kinds of loathsome beasts and poisonous reptiles, whose touch was death and whose look was contamination. The springs and pools at which such monsters quenched their thirst were saturated with poison by their contact, and would pour a fiery death through the veins of any animal that partook of them. But the unicorn, by dropping the tip of his horn into the pool, neutralised the venom and rendered the deadly waters harmless. This admirable quality of the unicorn’s horn was a great recommendation in days when the poisoned chalice crept too frequently upon the festive board, and a king could receive no worthier present than a goblet formed from such valuable material.

Even a few shavings of the unicorn’s horn were purchased at high prices, and the ready sale for such antidotes led to considerable adulteration—a fact which is piteously recorded by an old writer, who tells us that “some wicked persons do make a mingle-mangle thereof, as I saw among the Venetians, being, as I here say, compounded with lime and sope, or peradventure with earth or some stone (which things are apt to make bubbles arise), and afterwards sell it for the unicorn’s horn.” The same writer, however, supplies an easy test, whereby the genuine substance may be distinguished from the imposition. “For experience of the unicorn’s horn to know whether it be right or not; put silk upon a burning coal, and upon the silk the aforesaid horn, and if so be that it be true, the silk will not be a whit consumed.”

Examples.—Argent, a unicorn rampant (sometimes sejant sable armed and unguled or), is borne by Harling, Suffolk.

Another of the name bears the unicorn courant in chief with additional charges upon the shield.

Azure, a unicorn couchant, argent between twelve cross crosslets, or.—Doon.

Argent a chevron engrailed gules between three unicorns’ heads, erased azure.—Horne.

Religious emblems were in great favour with the early printers; some of them for this reason adopted the unicorn as their sign. Thus John Harrison lived at the Unicorn and Bible in Paternoster Row, 1603.

Again, the reputed power of the horn caused the animal to be taken as a supporter for the Apothecaries’ arms, and as a constant signboard by chemists.

The great value set upon unicorn’s horn caused the Goldsmiths of London to adopt this animal as their sign.

Pegasus or Pegasos.

The Pegasus

A poetic creation of the ancients, a winged horse captured by Bellerophon, the great hero of Corinthian legend. In this he was assisted by the goddess Minerva, who also taught him how to tame and use it. At Corinth there was a temple erected to ????a?a????t?? (Minerva the Bridler), in allusion to that part of the myth which describes Minerva as instructing Bellerophon in the mode of placing the bridle on the winged steed. The legend states that the hero caught this wonderful animal as it descended at the Acro-Corinthus to drink of the spring of Pirene. Mounted on his winged steed Pegasus, Bellerophon engaged the dire Chimera, and succeeded in destroying the monster by rising in the air and shooting it with arrows.

Pegasus is the steed of the Muses, and classic story ascribes to it the origin of the Castalian fountain “Hippocrene,” situated on Mount Helicon, part of Parnassus, a mountain range in Greece. When the Muses contended with the daughters of Pieros, “Helicon rose heavenward with delight”; but Pegasus gave it a kick, stopped its rise, and there gushed out of the mountain “the soul-inspiring waters of Hippocrene.”

The Standard of Corinth was a winged horse, in consequence of the tradition connecting the fountain called Pirene, near the city, with Pegasus, the fiery winged steed of Apollo and the Muses. The same device was the leading type upon the ancient coins of the city of Corinth. The Corinthians founded the colony of Syracuse, in Sicily, which city likewise adopted the winged horse and the head of Athena upon its coinage.

Pindar, who grandly relates the feat of the hero Bellerophon, says that he incurred the enmity of the gods by attempting to fly to heaven on his winged horse. Zeus sent a gadfly to sting the horse, who thereupon cast its rider and flew of his own accord to the stables of Zeus, whose thunder-chariot he has ever since drawn.

The pegasus is of frequent occurrence in heraldry. In its classic allusions it denotes fame, eloquence, poetic study, contemplation.

Pegasus salient.

Some modern heraldic writers, however, discarding its classic references, regard it merely in the matter-of-fact light as an emblem of swiftness. But it is impossible to disassociate the old and well-known ideas respecting the horse of Apollo and the Muses. In fancy the poet mounts his winged steed to bear his soaring spirit in its wayward flight through the realms of fancy.

As a type of the perfect horseman, Shakespeare pictures Prince Henry as able to—

“Turn and wind a fiery pegasus
And witch the world with noble horsemanship.”
1 King Henry IV., Act 4, sc. 1.

Elsewhere he takes up the later interpretation of the myth, which connects it with Perseus:

“The strong-ribbed bark through liquid mountains cut
Like Perseus’ horse.”
Troilus and Cressida, Act i. sc. 3.

Cardinal Bembo, poet and historian, secretary to Pope Leo X., used as his impress a pegasus and a hand issuing from a cloud holding a wreath of laurel and palm, with the motto, “Si te fata vocant” (“If the fates call thee”).

Azure, a pegasus salient, the wings expanded argent, is borne as the arms of the Society of the Inner Temple, London.

A very early seal of the Knights Templars exhibits two knights riding upon one horse.A recent writer remarks upon this strange device that “it is exceedingly probable that some rude and partially defaced representation of this device was mistaken by the lawyers of the reign of Queen Elizabeth for a pegasus. The fact that the Middle Temple adopted the device which appears upon the other seal of the ancient Knights strongly confirms this view.”

One of the supporters of the arms of Oliver Cromwell is a horse having the wings and tail of a dragon.

Sagittary, Centaur, Sagittarius, Centaurus, Hippocentaur

Under these names is blazoned a fabled monster of classic origin, half man, half horse, holding an arrow upon a bended bow. It is one of the twelve signs of the Zodiac, commonly called Sagittarius, otherwise Arcitenens, and marked by the hieroglyph ?. In its signification in arms it may properly be applied to those who are eminent in the field.

The arms traditionally assigned to King Stephen are thus described by Nicholas Upton: “Scutum rubeum, in quo habuit trium leonum peditantium corpora, usque ad collum cum corporibus humanis superius, ad modum signi Sagittarii, de auro.” In this, as in some other early examples, it is represented as half man, half lion.

The Sagittary—Centaur.

The arms of Stephen are sometimes represented with but one sagittary, and is said to have been assumed by him in consequence of his having commenced his reign under the sign of Sagittarius. Others say because he gained a battle by the aid of his archers on entering the kingdom. Others, again, say that the City of Blois used the ensign of a sagittary as an emblem of the chase; and Stephen, son of the Compte de Blois, assumed that ensign in his contest with the Empress Maude or Matilda. There is no contemporary authority, however, it must be confessed, for any of these derivations. A sagittary is seen upon the seal of William de Mandeville (temp. Henry III.), but not as an heraldic bearing.

The crest of Lambart, Earl of Cavan, is: On a mount vert, a centaur proper, drawing his bow gules, arrow or. It also appears as the crest of Askelom, Bendlowes, Cromie, Cruell, Lambert, Petty, Petty-Fitzmaurice.

The term Centaur is most probably derived from the words ?e?t?? (to hunt, or to pursue) and ta???? (a bull), the Thracians and Thessalians having been celebrated from the earliest times for their skill and daring in hunting wild bulls, which they pursued mounted on the noble horses of those districts, which were a celebrated breed even in the later times of the Roman Empire. A centaur carrying a female appears on a coin of Lete, which, according to Pliny and Ptolemy, was situated on the confines of Macedonia, and the fables of the centaurs, &c., in that and neighbouring districts abounding in a noble breed of horses, arose no doubt from the feats performed by those who first subjugated the horse to the will of man, and who mounted on one of these beautiful animals and guiding it at will, to approach or retreat with surprising rapidity, gave rise in the minds of the vulgar to the idea that the man and the horse were one being.

Sir John de Mandeville in his travels (printed by Wynken de Worde, 1499), tells us that in Bacharie “ben many Ipotanes that dwellen sometime in the water and sometime on the land; and thei ben half men and half hors and thei eten men when thei may take him.”

We have in modern history a singular and interesting example of a similar superstition. When the natives of South America—where the horse was unknown—first saw their invaders, the Spaniards, mounted on these animals and in complete armour, they imagined that the cavalier and steed formed but one being of supernatural powers and endowments.

Such groups as those exhibited on the rude money of Lete and other places were doubtless the first steps toward the treatment of similar subjects by Phidias, the celebrated Greek sculptor, whose works illustrating the battle of the LapithÆ and the Centaurs adorned the metopes of the Parthenon at Athens, to which they also bear a striking affinity in the simplicity of their conception.

A curious example of the compounded human and animal forms similar to the sagittary is represented upon a necklace found in the Isle of Rhodes, and now in the MusÉe Cluny, Paris. It is formed of a series of thin gold plates whereon is represented in relief the complete human figure conjoined to the hinder part of a stag (or horse). This is alternated with another compound figure, human and bird, holding up two animals by the tails, both subjects, each in their own way, suggestive of the fleet and dexterous hunter.

Compound figures, gold necklace, MusÉe Cluny, Paris.

In Homer’s account the centaurs are obviously no monsters, but an old Thessalian mountain tribe, of great strength and savage ferocity. They are merely said to have inhabited the mountain districts of Thessaly, and to have been driven thence by the LapithÆ into the higher mountains of Pindus. Their contest with the LapithÆ is generally conceived as a symbol of the struggle of Greek civilisation with the still existing barbarism of the Early Pelasgian period. This may be the reason why Greek art in its prime directed itself so especially to this subject.

Centaur, Greek sculpture.

The origin of this contest is referred to the marriage feast of Pirithous and Hippodamia, to which the principal centaurs were invited. The centaur Eurytion, heated with wine, attempted to carry off the bride. This gave rise to a struggle for supremacy which, after dreadful losses on both sides, ended in the complete defeat of the centaurs, who were driven out of the country. The custom of depicting the centaurs as half man, half horse arose in later times, and became a favourite subject of the Greek poets and artists.

Amongst the centaurs, Chiron, who was famous alike for his wisdom and his knowledge of medicine, deserves mention as the preceptor of many of the heroes of antiquity. Homer, who knew nothing of the equine shape of the centaurs, represents him as the most upright of the centaurs, makes him the friend of Achilles, whom he instructed in music, medicine and hunting. He was also the friend of Heracles, who, by an unlucky accident, wounded him with a poisoned arrow. The wound being incurable, he voluntarily chose to die in the place of Prometheus. Jupiter placed him among the stars, where he is called Sagittarius.

Bucentaur, from Greek ???? (bous) an ox, and ???ta???? (kentauros) a centaur, was, in classic mythology, a monster of double shape, half man, half ox. The state barge of the Doge of Venice was so termed.

The Minotaur slain by Theseus had the body of a man and the head of a bull.

Griffin or Gryphon

The griffin, gryfin, or gryphon, as it is variously termed by old writers, is best known as one of the chimerical monsters of heraldry—the mediÆval representative of the ancient symbolic creature of Assyria and the East. It may be classed with the dragon, wyvern, phoenix, sphynx, “gorgons and hydras and chimeras dire,” and other imaginary beings, that world of unreality grown up in the mind of man from the earliest times, the influence of whose terrors have exercised no little power in the progress of humanity.

A Griffin statant, wings endorsed.

This favourite bearing was very early adopted in English armory. So early indeed as 1167 A.D. we find it on a seal of Richard de Redvers, Earl of Exeter, attached to a charter at Newport, Isle of Wight. It also appears on a seal of Simon de Montacute (temp. Henry III. and Edward I.). It is one of the principal bearings in heraldry, either charged upon the shield, as the arms, or as the crest placed upon the helm, also as supporters to the shield of arms of many noble and eminent families in this country and the continent.

The griffin, “sacred to the sun,” combines the bodily attributes of the “cloud-cleaving eagle” and the “king of beasts,” that is, it has the head, neck, wings, and talons of an eagle, conjoined to the hinder parts of a lion. It is usually represented with projecting ears, indicating an acute sense of hearing, in addition to its other supposed extraordinary qualities.

The griffin is rarely borne in other than two positions, viz., passant and segreant. The latter term is peculiar to the griffin, and seems to refer to the expanded wings. When called segreant only, it means the same as rampant applied to a lion. As a crest, it is not unfrequently borne sejant, i.e., sitting. Parts of the creature, as a demi-griffin, a griffin’s head, &c., are also of common use.The arms of Trafford, Lancashire, are: Argent a griffin segreant gules. Motto: Gripe griffin hold fast. The supporters of the arms of Viscount Halifax are two griffins.

Sleeping Griffin, by John Tenniel, from “Alice in Wonderland.”
(By permission of Macmillan & Co., Limited, proprietors of the copyright.)

Old heralds gravely relate of this creature that when he attains his full growth he will never be taken, hence he is a fit emblem of a valiant hero, who, rather than yield himself to his enemy, exposes himself to the worst of dangers. As a general symbol in heraldry the griffin expresses strength and vigilance.

Sir Thomas Browne says it is emblematical of watchfulness, courage, perseverance and rapidity of execution.

The description of the griffin by the old traveller, Sir John Mandeville, is a wonderful record of credulity and belief in the marvellous; he states it to be a native of “Bacharie, where ben many griffones, more plentee than in any other countree. Sum men seyn that they have the body upwards of an egle and benethe as a lyonn, and truly they seyne soethe that thei ben of that schapp. But one griffoun hath the body more great and stronger than one hundred egles, such as we have amonges us. For one griffoun there will be flynge to his nest a great hors, or two oxen yoked togidre, as thei gon to the plowghe. For he hath his talouns so longe and so grete and large upon his feet as though thei were hornes of grete oxen, or of bugles (bulls), or of kygn, so that men maken cuppes of hem to drynke of, and of hire (their) ribbes and of the pennes of hire wenges men maken bowes fulle stronge to schote with arrews and quarell.” Gerard Leigh, an old heraldic writer, discoursing of the griffin, gives his reason for belief, he says, “I thinke they are of a great hugeness, for I have a clawe of one of their pawes, whiche should shewe them to be as bigge as two lyons.”

Griffin segreant, German version.

In the cathedral of Brunswick there is still preserved the horn of some kind of antelope, brought from the Holy Land as “a griffin’s claw,” by Henry the Lion. Three talons of the griffin were preserved at Bayeux, and fastened on high festival days to the altar, and there seems to be some curious legend concerning a cup formed of a gryphon’s claw dedicated to St. Cuthbert A gryphon’s egg was also considered a valuable curiosity, being used as a goblet in old times when natural history was greatly misunderstood and grossly exaggerated. As an example of the absurd misstatements of the earlier writers and naturalists who so delighted our wonder-loving forefathers, a writer in the “Museum of Animated Nature” refers to a large species of vulture, the Condor (Sarcoramphus Gryphus), which was painted as rivalling the Rukh of Oriental fable. He adds that “such descriptions have given place to the moderate details of sober-minded observers, and we no longer look upon this creature as the winged guardian of mountain mines within whose depths were entombed ‘gems and barbaric gold,’ we no longer imagine it the giant of the winged race, dimming the light of the sun by its widespread pinions, and by the mighty rushing sound as it sweeps down from some lofty pinnacle or the upper regions of the sky deafening and stupefying the terror-stricken beholders.”

As the stern avenger of human crimes, the dreaded Nemesis appears in Roman Art, as a young woman with wings, in a chariot drawn by griffins, with a whip or sword in her hand.[12]

Smith’s “Classical Dictionary” gives the following: “Gryps or gryphus, a fabulous monster dwelling in the RhiphÆan mountains between the Hyperboreans and the one-eyed Arimaspians, and guarding the treasures of the north. The Arimaspians mounted on horseback attempted to steal the gold, and hence arose the hostility between the horse and the griffin. The body of the griffin was that of a lion, while the head, fore-feet and wings were those of an eagle. It is probable that the origin of the belief in griffins must be looked for in the East, where it seems they have been very ancient. They are also mentioned among the fabulous beasts which guarded the gold of India.”

The Arimaspians were a one-eyed people of Scythia who adorned their hair with gold. They were constantly at war with the Gryphons who guarded the gold mines.

“As when a gryphon, through the wilderness ...
Pursues the Arimaspian, who by stealth
Had from his wakeful custody purloined
The guarded gold.”
Paradise Lost, ii.

Gold Flying Griffin, found by Dr. Schliemann at MycenÆ.

That the form of the griffin must have been a well understood symbol is evident from the frequency with which it is met in ancient art. Dr. Schliemann, in his explorations of the ancient city of MycenÆ, among other treasures found a gold-winged griffin, about two inches in length, in one of the sepulchres of the kings (Figure No. 272 in his book), which in every particular as to shape is identical with the heraldic griffin of to-day; the same may be said of a coin of Abdera, a city in Thrace, which bears the device of a griffin. Abdera was a place of importance when Xerxes invaded Greece B.C. 554.

Herodotus relates that the Teians, dreading the encroachments of the Persians in Ionia, abandoned their city and founded Abdera in Thrace. The coinage of the latter place bears the same type (the griffin) as the parent city, but with a slight difference in treatment. This consists in the form of the wings of the griffin, which are pointed on the coins of Abdera, while in those of Teos they are rounded. The griffin was sacred to Apollo, to whom an especial worship was devoted in most of the Ionian cities, but more particularly in Teos.[13]

Colossal Griffins, Burmah.

In the Illustrated London News of October 21, 1876, is an engraving of two gigantic wingless griffons, and also a description by the traveller who visited that strange place. “At Thyetmo, 250 miles up the river Irrawaddy from Rangoon in British Burmah, are two colossal ‘chin thay’ or figures of sacred griffins, standing at the entrance to one of the great pagodas dedicated to the worship of Gautama Buddha; the outer terraces and steps of these temples are frequently adorned with such mythical monsters. Near the ancient ruined city of Paghan, which flourished a thousand years ago, the bank of the river for a length of eight miles is lined with the remains of this quaint architecture and sculpture, covering a space of two miles in breadth from the water’s edge. It is not known by what nation of old times they were constructed, for Burmese history is apocryphal or at least very obscure.”

The symbolic use of images of living creatures was in the instance of the cherubim permitted under the Mosaic dispensation, and on this will be found to turn the distinction between the symbolic use and its forbidden and dangerous use as a supposed means of assisting devotion. Mr. Henry Hayman in “Smith’s Dictionary,” s.v., “cherub,” as quoted by Tyrwhit, says: “On the whole it seems likely that the word ‘cherub’ meant not only the composite creature-form of which the man, lion, ox, and eagle were the elements, but further, some peculiar and mystical form which Ezekiel, being a priest, would know and recognise as ‘the face of a cherub,’ ?at’ e?????, but which was kept secret from all others.... Such were probably those on the ark, which when moved was always covered, though those on the hangings and panels might be of the popular device. The griffin of northern fable, watching the gold in the wilderness, has been compared with the cherub both as regards his composite form and his functions as guardian of a treasure. He goes on to point out the possible affinity between the Greek root ???p (????, gryps, griffin), and the Hebrew and Arabic derivation of the word ‘cherub,’ which gives it the original meaning of ‘carved image,’ and says that though the exact form is uncertain, it must have borne a general resemblance to the composite religious figures found upon the monuments of Egypt, Assyria, Babylonia and Persia.”

Mr. Ruskin,[14] describing the emblematical griffins on the front of the Duomo of Verona, points out that the Lombard carver was enabled to form so intense a conception, mainly by the fact that his griffin is a great and profoundly felt symbolism. Two wheels are under its eagle’s wings, which connect it with the living creatures of the vision of Ezekiel, “where they went the wheels went by them, and whithersoever the spirit was to go, they went, and the wheels were lifted up over against them, for the spirit of the living creatures was in the wheels.” The winged shape thus became at once one of the acknowledged symbols of the divine nature. Elsewhere, we think in the “Stones of Venice,” the connection is pointed out between the Assyrian and Gothic personations.

Gian-Paolo Baglione (+ 1520), who usurped the sovereignty of Perugia, bore a silver griffin on a red field with the motto, “Unguibus et rostro atque alis armatus in hostem” (“Armed against the enemy with talons and beak and wings”), which means of defence proved of no avail when he was seized by Pope Leo X., who, pretending to consult Baglione on affairs of importance, sent him a safe conduct to Rome, but when he arrived, he caused him to be tortured and beheaded, and afterwards took possession of his states. This gave occasion to his enemies to say, “This ugly bird has not used his wings as at other times, to flee from the snare which has been laid for him.”[15]

In Dante’s description of the triumph of the Church, in the “Purgatorio,” we have the mediÆval conception of this wondrous creature, the gryphon. “The mystic shape that joins two natures in one form”—as he is called by the noble Italian poet—draws the car to which he is harnessed, and

“He above
Stretched either wing uplifted ’tween the midst
···· ···
And out of sight they rode. The members, far
As he was bird, were golden; white the rest,
With vermeil interveined.”

And when the eyes of Beatrice

“stood
Still, fix’d toward the gryphon, motionless.
As the sun strikes a mirror, even thus
Within those orbs the twyfold being shone;
For ever varying, in one figure now
Reflected, now in other. Reader! muse
How wondrous in my sight it seem’d, to mark
A thing, albeit steadfast in itself,
Yet in its imaged semblance mutable.”
Cary’s Dante, Purgatory, c. xxix.

“Some commentators of Dante,” says M. Dideron,[16] “have supposed the griffin to be the emblem of Christ, who, in fact, is one single person with two natures; of Christ in whom God and man are combined. But in this,” says M. Dideron, “they are mistaken. There is, in the first place, a manifest impropriety in describing the car as drawn by God as a beast of burden.” “Commentators,” it is added, “have been misled by the two-fold nature of the gryphon, but that difficulty is removed by recollecting that the Pope resembles the eagle in his spiritual character, and in his temporal authority the lion. The Pope is one person, but of two natures and two distinct forms. Thus considered the allegory of Dante becomes clear and intelligible.”

The gryphon is very frequently seen sculptured in Gothic churches, more especially in those of the Lombard and early Norman style, and is evidently intended to refer to the union of the divine and human natures.

A curious example of this compound form of bird and beast occurs on an Italian bronze medal of the fifteenth century, about 3½ in. in diameter (No. 57.51 in the fine collection in South Kensington Museum). On one side it bears a portrait of Niccolo Picininus of Perugia, a celebrated mercenary soldier—and on the reverse a griffin, the eagle’s head, wings, and feet united to the Roman she-wolf, with Romulus and Remus suckling. Dante’s emblem of the Popedom is here apparently adapted to the peculiarly Roman national symbol—the nursing mother of nations and the Catholic religion.

Carved panel, a Griffin segreant.

The Male Griffin

The griffin is sometimes borne sans wings and termed a male griffin, as in the supporters to the arms of the Marquis of Ormond, but spikes or rays proceed from various parts of its body; sometimes it has two long straight horns.

Other Varieties of the Griffin

Two other varieties of the griffin family, the “Hippogriff” and the “Simoorgh” appear in the highly wrought imaginings of the poets, and may here be very briefly alluded to. They do not, however, appear in British Heraldry.

Male Griffin.

Hippogryph, or Hippogrif, the winged horse whose father was a griffin and mother a filly (Greek, hippos, a horse, and gryps, a griffin)—a symbol of love.[17]

Simoorgh, a sort of griffin or hippogryph, which took some of its breast feathers for Tahmura’s helmet. This creature forms a very striking figure in the epic poems of Saadi and Ferdusi, the Persian poets.Milton also makes allusion to this mythical creature:

“So saying he caught him up, and without wing
Of hippogrif, bore through the air sublime
Over the wilderness and o’er the plain.”
Paradise Regained, iv.

Opinicus statant.

The Opinicus, or Epimacus

This creature appears to be a variety of the griffin family. Authorities blazon it as having its body and four legs like those of a lion; the head and neck and wings like an eagle, and the short tail of a camel, sometimes borne sans wings.

Such a monster with wings endorsed or, was the crest of the Barber Surgeons of London.

Two opinici vert, purfled or, beaked sable, wings gules, support the insignia of the Plasterers’ Company.

Egyptian Sphynx.

The Sphynx

According to some heraldic writers, the sphynx should possess the head and bust of a woman, the paws of a lion, the body of a dog, and the tail of a dragon. In Lord Chancellor Bacon’s book on “The Wisdom of the Ancients,” there is an exposition of the meaning of the sphynx, which, says Dr. Woodward, is as curious as the creature itself.

It frequently figures in heraldry as a convenient hieroglyph to commemorate some service in Egypt. It is the crest of British families of Asgill, Baronets Lambert, Goatley, &c., and appears in the arms of Sir John Moore, the hero of Corunna.

Theban, or Greek Sphynx.

The strange combination of human and animal features in the figure known as the sphynx is of frequent occurrence in both Greek and Egyptian mythology and art. The Egyptian sphynx is supposed to represent the combination of physical power, or the kings, as incarnations of such attributes. They are also associated with the special forms and attributes of the great Egyptian deities Osiris and Ammon, Neph or Jupiter, and Phreh or Helios. That is, we have the man-sphynx, the ram-sphynx, and the hawk-sphynx, or the lion’s body with the head of the man, the ram, or the hawk, according to the deity worshipped. The sphynx itself was probably a religious symbol of the Egyptians, which was transferred to Greece, and subsequently underwent a change of meaning. Among the Egyptians the sphynx seems to have been a symbol of Royal dignity betokening a combination of wisdom and strength. By the Greeks, however, it appears to have been regarded as the symbol of the burning pestilence-breeding heat of the summer sun. The form of the Theban sphynx was that of a lion, generally in a recumbent position, with the breast and upper part of a beautiful woman, and was in imitation of the original male sphynxes of Egypt. Greek Art was only acquainted with the sphynx in its female form, and also departed from the Egyptian type by adding wings to the lion’s body.

“There is a great difference,” says Sir Gardiner Wilkinson in his account of the sphynx,[18] “between the Greek and Egyptian sphynxes. The latter is human-headed, ram-headed, or hawk-headed, and is always male; while the Greek is female, with the head of a woman, and always has wings, which the Egyptian never has.”

In the Greek story the monster was sent by Hera (Juno) to devastate the land of Thebes. Seated on a rock close to the town, she put to every one that passed by the riddle, “What walks on four legs in the morning, on two legs at noon, and on three legs in the evening?” Whoever was unable to solve the riddle was cast by the sphynx from the rock into a deep abyss. Œdipus succeeded in answering it, and thus delivered the country from the monster, who cast herself into the abyss.

The sphynx occurs upon a coin of Chios (B.C. 478-412). It is represented seated before an amphore, above which is a bunch of grapes. Chios was famed for its wine, and the sphynx was a symbol of Dionysius.[19]

The Emperor Augustus, on his seal, used the device of the sphynx—“maid’s face, bird’s wings, and lion’s paws”—“implying,” says Mrs. Bury Palliser (“Historical Devices,” &c.), “that the secret intentions of a prince should not be divulged. When Augustus was in Asia, he authorised Agrippa and MecÆnas, who administered affairs during his absence, to open and read the letters he addressed to the Senate before any one else; and for this purpose he gave them a seal upon which was engraved a sphynx, the emblem of secrecy. The device gave occasion to ridicule, and to the saying that it was not surprising if the sphynx proposed riddles; upon which Augustus discontinued it, and adopted one with Alexander the Great, to show that his ideas of dominion were not inferior to Alexander’s. Subsequently Augustus used his own effigy, which practice was continued by his successors.”

Maurice (“Oriental Trinities,” p. 315) says the sphynx was the Egyptian symbol of profound theological mystery, and was therefore placed on either side of the dromoi, or paths leading to the temples of the gods. “They are black,” he says, “in allusion to the obscure nature of the deity and his attributes. The white head-dress may allude to the linen tiaras wrapped round the heads of the priests.” The origin of the myth was not definitely known even to the ancients. Some early writers say it was symbolical of the overflowing of the Nile, which happened when the sun was in the signs of Leo and Virgo; and that it had its name from this circumstance. “For,” they say, “the word sphynx in the ChaldÆan language signifies overflowing.” The fact of the Egyptian sphynx being always male does not, however, accord with this derivation.

A statue of the Theban sphynx found in Colchester, and now in the museum of that town, gives the Greek conception of that creature. It is carved in oolite, twenty-five inches high, evidently a relic of the Roman occupation of Britain. It represents the monster seated over the mangled remains of one of its victims. Llewellin Jewett, in the Art Journal 1871, p. 113, describes it as “combining the five-fold attributes of a virgin, a lion, a bird, a dog, and a serpent. The head, breast and arms are those of a beautiful virgin; the body and teats of a female dog; hinder parts, hind legs and fore paws are those of a lioness; the tail doubled in short folds is serpent, and the wings those of a bird.”

The same writer says: “The sphynx appears on the reverses of some coins of Cunobeline (Cymbeline, of Shakespeare), struck in the city of Camalodunum (Colchester).”

The gigantic statue of the sphynx half buried in the sand near the Great Pyramids, at Gizeh, is hewn and sculptured out of a spur of solid rock, to which masonry was added in places to complete the form. The actual age of the great sphynx is not known, but it is supposed to have been commenced under Cheops and finished by order of King Chefren, under whose reign also was probably built the second great pyramid. The able author of “Eothen” thus describes the appearance of the sphynx of Egypt, and the sentiments to which its contemplation gave rise in his mind: “And near the Pyramids, more numerous and more awful than all else in the land of Egypt, there rests the lonely sphynx. Comely the creature is, but the comeliness is not of this world. The once worshipped beast is a deformity and a monster to this generation, and yet you can see that these lips, so thick and heavy, were fashioned according to some ancient mould of beauty—some mould of beauty now forgotten—forgotten because that Greece drew forth CytherÆa from the flashing bosom of the Ægean, and in her image created new forms of beauty, and made it a law among men that the short and proudly wreathed lips should stand for the sign and main condition of loveliness through all generations to come! Yet there still lives on the race of those who were beautiful in the fashion of the elder world; and Christian girls of Coptic blood will look on you with sad, curious gaze, and kiss your charitable hand with the big pouting lips of the very sphynx. Laugh and mock if you will at the worship of stone idols; but mark ye this, ye breakers of images, that in one regard the stone idol bears awful semblance of deity—unchangefulness in the midst of change—the same seeming will and intent for ever inexorable! Upon ancient dynasties of Ethiopian and Egyptian kings—upon Greek and Roman, upon Arab and Ottoman conquerors—upon Napoleon dreaming of an Eastern empire—upon battle and pestilence—upon the ceaseless misery of the Egyptian race—upon keen-eyed travellers—Herodotus yesterday and Warburton to-day—upon all, and more, this unworldly sphynx has watched, and watched like a Providence, with the same earnest eyes and the same sad, tranquil mien. And we shall die, and Islam shall wither away; and the Englishman, straining far over to hold his loved India, will plant a firm foot on the banks of the Nile, and sit on the seats of the faithful; and still that sleepless rock will lie watching and earnest the work of the new busy race with those same sad eyes and the same tranquil mien everlasting. You dare not mock at the sphynx.” The conclusion of this rhapsody at the present time sounds almost like a half-fulfilled prophecy.

The sphynx is the special device of several British regiments which landed in Egypt, in the Bay of Aboukir, in the face of the French Army; and borne as a memento of the battle of Alexandria, when General Sir Ralph Abercrombie fell in the moment of victory. It also appears upon the war medals of the English occupation of Egypt, resulting in the battle of Tel-el-Kebir, 1882, and subsequent victories. In heraldry the sphynx is usually couchant; it is, however, borne in other positions, sometimes winged, and when so borne the wings are always endorsed, i.e., back to back.

A sphynx passant, wings endorsed argent crined or, is the crest of Asgill (Bart. 1701).

A Sphynx passant guardant, wings endorsed.

The Phoenix.

The Phoenix Bird of the Sun

“Rara avis in terris.”

An imaginary bird, described by ancient writers as in form like an eagle, but more beautiful in its plumage. Among the ancient classical writers it was an emblem of those existing in paradise, enjoying eternal youth and never-ending pleasure. Tacitus describes the phoenix as a singular bird, consecrated to the sun, and distinguished by its rich appearance and variegated colours. Herodotus naÏvely says: “I never saw one, indeed, but in a picture, but if he is like his picture his plumage is partly golden and partly red.” Philippe de Thaun says: “The phoenix lives five hundred years and a little more, when it will become young again and leave its old age.” It was said to be sometimes seen in Egypt, and only one was believed to exist at a time. When it is advanced in age and its time of change is at hand, it hides itself away somewhere in Arabia, and makes itself a nest of the rarest spices, which, by the heat of the sun or other secret agency, and the fanning of the sacred bird’s own wings, soon rises into flames and consumes it. Out of its ashes rises another with new life and vigour to pursue the same never-ending life and re-birth.

Fum or Fung (the phoenix) is one of the four symbolical animals supposed to preside over the destinies of the Chinese Empire; the sacred Ho-ho or phoenix also figures with the dragon largely in Japanese mythology, and bears a striking analogy to the bird of classic fame. It is fabled to have a miraculous existence, and is sent on earth for the performance of extraordinary works in the manifestation of the Divinity and in the development of humanity and nature. It appears at different stages of the world’s progress and in successive ages; after the accomplishment of which it reascends to heaven to come down again at the commencement of a new era.

From the pagans the Early Christians adopted the symbol, and with them its significance had reference to the resurrection and immortality. Like the pelican “in her piety,” it was peculiarly an emblem of our Saviour in His resurrection. As the phoenix when old and wearied seeks the rays of the sun to consume its body, again to be revived in life and vigour, so the Christian, worn and exhausted by worldly labour and suffering, turns to the Son of Righteousness for regeneration and newness of life. Tertullian makes the phoenix an image of the resurrection.

In corroboration of this it must be borne in mind that Jesus Christ, who died A.D. 34, is termed the phoenix by monastic writers.

The Phoenix period or cycle is said to consist of 300 years. “The bird of wonder” is said to have appeared in Egypt five times:

1. In the reign of Sesostris, B.C. 866.

2. In the reign of Amasis, B.C. 566.

3. In the reign of Ptolemy Philadelphus, B.C. 266.

4. In the reign of Tiberius, 34 A.D.

5. In the reign of Constantine, 334 A.D.