We may conclude this section with an account of the monstrous semi-human, semi-bestial creatures, which play a large part in the decoration of Greek vases, and appear in connection with many legends. Such are the Centaurs, half man, half horse; the Gorgons, winged women with snaky locks; the Harpies, also found on early vases in the form of winged women; and mythical creatures like Pegasos, the Chimaera, or the Minotaur.
The Centaurs, who probably symbolise mountain torrents or other forces of nature, appear (mostly on early vases) in combat with Herakles, either in troops or in single combat, as in the stories of Nessos, Dexamenos, and Eurytion[[1470]]; or, again, in the scenes so often celebrated in the sculptured friezes and metopes of Greek temples, where they contend with Theseus and Peirithoös,[[1471]] or with the Thessalian Lapiths.[[1472]] Among the latter a common episode is the death of Kaineus, whom the Centaurs buried in the earth, showering rocks upon him.[[1473]] In a more peaceful aspect appear the aged Centaurs, Pholos and Cheiron, especially in the stories of Herakles and Achilles,[[1474]] both of whom are brought to the latter for their youthful education.[[1475]] As the friend of Peleus Cheiron often assists at his capture of Thetis.[[1476]] Centaurs, especially Pholos, are sometimes represented returning from the chase,[[1477]] or as single decorative figures[[1478]]; in one case they fight with cocks.[[1479]] Nike in one or two instances is drawn in her chariot by male or female Centaurs[[1480]]; and, finally, representations of youthful Centaurs are found, though usually they are middle-aged.[[1481]]
The Gorgons appear almost exclusively in connection with the Perseus legend,[[1482]] but are besides frequently found as decorative figures, especially on B.F. vases,[[1483]] in the running attitude characteristic of archaic art, in one case between two Sphinxes.[[1484]] Besides these, the head or mask of the Gorgon Medusa, familiar at all periods as a decorative motive of Greek art—first with an ugly and grotesque face, afterwards refined and beautiful—is often found by itself on Greek vases, especially as an interior central ornament of B.F. kylikes.[[1485]]
Harpies, conventionally associated through the medium of the Roman poets[[1486]] with the human-headed bird-form which really denotes the Siren, are found invariably on vases in the form of winged women.[[1487]] They are, as has been elsewhere noted (p. [81]), associated with the Boreades[[1488]] as symbolical of evil and good influences of winds, and probably should be regarded as personifications of the southern breezes (the malevolent influence of which is seen in the sirocco). Traditionally they were supposed to guard the Garden of the Hesperides in Africa, whence the hot baleful winds come. The story of Phineus is probably to be explained on these lines.[[1489]] A Harpy appears at the recovery of Zeus’ golden dog from Pandareos.[[1490]]
That the human-headed bird represents a Siren in Greek art is amply attested by the representations of Odysseus’ adventure with the vocal enchantresses.[[1491]] Their appearance on the so-called Harpy monument of Xanthos, however, shows them in another aspect, that of death-deities[[1492]]—not necessarily of a violent and rapacious character, as on a vase in Berlin,[[1493]] but gentle and kindly. So, again, a Siren is represented in connection with a tomb[[1494]]; and in a scene representing a banquet in Elysium they are depicted crowning the dead.[[1495]] On some vases we find a Siren playing a flute or a lyre (probably merely fanciful subjects)[[1496]]; or, again, two Sirens kissing each other.[[1497]] As mere decorative motives their appearances are countless, and many early vases are modelled in the form of Sirens[[1498]]; sometimes they have human arms[[1499]]; in one case a bird’s wings and a fish-tail[[1500]]; or, again, more anomalously, bearded masculine heads.[[1501]] More rarely they are seen flying.[[1502]]
The Sphinx is familiar in the first place as the monster, half woman, half dog, which vexed the city of Thebes till slain by Oedipus; this story is often alluded to on vases,[[1503]] but many groups of a man and a Sphinx have probably no special meaning.[[1504]] The Sphinx has sometimes a sepulchral reference,[[1505]] and is grouped with other figures, such as Atlas[[1506]] or a Seilenos[[1507]] (the latter probably a scene from a Satyric drama). Like the Siren, she is exceedingly common as a decorative figure,[[1508]] especially in the friezes of animals and monsters so dear to the early vase-painters. Her invariable form is that of a winged lion or dog with a woman’s bust.
The Gryphon, a kind of dragon composed of an eagle’s head and lion’s body and legs (occasionally a bird’s), is almost exclusively decorative[[1509]]; but on the later vases we find the fabulous combat of the Oriental Arimaspi with the Gryphons who guarded the mountain of gold in the Far East (cf. Plate XLII.)[[1510]]; or, again, they contend with the Amazons,[[1511]] with Scythians,[[1512]] or with ordinary Greek warriors.[[1513]] In one instance an Arimasp woman is seen shooting at a Gryphon of curious type.[[1514]] Further, they draw the chariots of deities, such as Persephone,[[1515]] and Dionysos[[1516]]; and we have already seen Apollo coming on a Gryphon from the Hyperborean regions.[[1517]]
Pegasos, the winged steed of Bellerophon, and the monster Chimaera which he slew, also appear as decorative figures[[1518]]; and the former draws the chariots of Apollo and of a woman,[[1519]] and also appears as a constellation with the moon and stars.[[1520]] A human-headed monster attacked by a hero seems to have been suggested by the Chimaera on a companion vase.[[1521]] The Minotaur is generally seen in connection with Theseus, but also appears as a single or decorative figure,[[1522]] and one vase appears to represent the youthful monster in his mother’s lap.[[1523]] Other monsters found occasionally on vases are Skylla, who appears, not in connection with the story of Odysseus, but with those of Perseus and Andromeda,[[1524]] and Phrixos and Helle,[[1525]] or as a single figure[[1526]]; and Lamia, a vampire or ogress in the form of a hideous old woman, who is seen undergoing torture from Satyrs,[[1527]] and in another unexplained scene.[[1528]] Another type of monster, the serpent-footed giant Typhon, has already been mentioned.[[1529]] Yet another and a unique type is that of the Nymphs with serpent bodies which protect vines from the attacks of goats.[[1530]]
Lastly, another creation of fancy, though not strictly mythological, is the ἰππαλεκτρύων or “cock-horse,” a bird with horse’s head, which appears on some B.F. vases ridden by a youth.[[1531]] This may also be a convenient place for mentioning the common decorative subject of Pygmies fighting with cranes.[[1532]]