On a centaur at Exeter of the thirteenth century, the mythical idea is somewhat retained; the centaur has shot an arrow into the throat of a dragon, which is part of the ornament. This is a very rude but suggestive carving. Is the centaur but a symbol of Apollo himself?
The next block (at Ely) is also of the centaur order, though not suggestive of aggression. The figure is female, and she is playing the zither. This is of the fourteenth century.
MUSICAL CENTAUR, ELY.
HARPY, WINCHESTER.
Another classic conception which has been perpetuated in Gothic is the harpy, though in most cases without any apparent recognition of the harpy character. Exceptions are such instances as that of the harpy drawn in the chapter “Satires without Satan.” In one at Winchester a fine mediæval effect is produced by putting a hood on the human head.
IBIS-HEADED FIGURE
FROM AN UNKNOWN CHURCH.
Another curious bird combination is in a carving in the Architectural Museum, Tufton Street, London, from an unknown church. This is a semi-human figure, whose upper part is skilfully draped. The head, bent towards the ground, is that of a bird of the ibis species, and it is probable that we have here a relic of the Egyptian Mercury Thoth, who was incarnated as an ibis. Thoth is called the God of the Heart (the conscience), and the ibis was said to be sacred to him because when sleeping it assumes the shape of a heart.