Fictitious & Symbolic Creatures in Art Part 5

The prostrate att.i.tude usually signifies the triumph of Christianity over Paganism, as in pictures of St. George and St. Sylvester; or over heresy and schism, as when it was adopted as the emblem of the Knights of the Order of the Dragon, in Hungary, which was inst.i.tuted for the purpose of contending against the adherents of John Huss and Jerome of Prague.

The dragon in Christian Art is often very variously represented, sometimes as a serpent, at other times as a dragon or wyvern, or again in the symbolic figure partly human, under which form we find the "old serpent"

(the Devil) often represented, as in the conflict of St. Michael the Archangel. The numerous legends of saints who have fought and overcome dragons prove the symbolic light in which the impersonation of evil was generally viewed.

[Ill.u.s.tration: From ancient carving.]

St. Margaret is the patron saint of the borough of LYNN REGIS, and on the old corporation seal she is represented standing on a dragon and wounding it with a cross. The Latin inscription on the seal is "Sub Margaret teritur draco stat cruce laeta." The modern s.h.i.+eld of the town is now blazoned: _azure three conger's_ (or dragon's) _heads erased and erect, the jaws of each pierced with a cross crosslet fitchee or_. In paintings St. Margaret is represented as a young woman of great beauty bearing the martyr's palm and olive crown, or with the dragon chained and helpless at her feet as an attribute. Sometimes she is depicted coming from the dragon's mouth, for the legend says the monster swallowed her, but on her making the sign of the cross he was compelled to free her again. A legend states that Olybus, Governor of Antioch, captivated by the beauty of Margaret, wished to marry her; as she rejected him with scorn he threw her into a dungeon, where the devil appeared to her in the form of a horrible dragon and endeavoured to frighten her from her path. Margaret held up the cross and the dragon fled. Other legends say he burst asunder.

[Ill.u.s.tration: St. George and the Dragon.

"In many a church his form is seen, With sword, and s.h.i.+eld, and helmet sheen: Ye know him by his steed of pride, And by the dragon at his side."

CHR. SCHMID.]

ST. GEORGE, the patron saint of England, in his legendary combat with the monster, is a subject which occurs frequently in English sculpture and painting, and enters largely into the language and literature of the nation. St. George appears to have been selected as the patron saint of England not long after the Norman conquest. We find the anniversary of his martyrdom (April 23) was ordered to be observed as a festival by the National Synod of Oxford in 1222 A.D.

The "Golden Legend," printed by Pynson in 1507 (fol. cxix.), thus refers to "Saynt George": "This blyssed and holy martyr Saynt George is patrone of this realme of Englod: and ye crye of me of warre; and in ye worsyp of whome is founded ye n.o.ble order of a garter: and also ye n.o.ble college in ye castell of Wyndsore, by Kynges of Englond. In whyche college is ye herte of Saynt George: whyche Sygysmond ye Emperour of Alamayn brought: and gaf it for a grete and precyous relyque to kynge Harry the fifte. And also the said Sygysmond was broder of the sayd garter. And also there is a piece of his head; which college is n.o.bly endowed to thonour and wors.h.i.+ppe almighty G.o.d and his blyssed Martyr Saynt George. Then late us praye vnto hym that he be specyel protectour and defendour of this royaume."

The emblems commonly given to St. George, martyr, and patron saint of England are: a dragon, a s.h.i.+eld bearing a red cross on a white field, and a spear. He is usually represented on horseback in the act of spearing the monster which is vomiting fire; or as standing with the slain dragon at his feet.

That St. George is a veritable character is beyond all reasonable doubt, and there seems no reason to deny that he was born in Armorica, and was beheaded in Diocletian's persecution by order of Datia.n.u.s, April 23, 303.

St. Jerome (331-420) mentions him in one of his martyrologies; in the next century there were many churches erected to his honour. St. Gregory (540-604) has in his sacramentary a "Preface for St. George's Day"; and the Venerable Bede (672-735) in his martyrology, says: "At last St. George truly finished his martyrdom by decapitation, although the gests of his pa.s.sion are numbered among the apocryphal writings."

According to the old ballad given in Bishop Percy's "Reliques of Ancient Poetry," St. George was the son of Lord Albert of Coventry. His mother died in giving him birth, and the new-born babe was stolen away by the weird lady of the woods, who brought him up to deeds of arms. His body had three marks: a dragon on the breast, a garter round one of the legs, and a blood-red cross on the arm. When he grew to manhood he first fought against the Saracens, and then went to Sylene, a city of Libya, where was a stagnant lake infested by a huge dragon, whose poisonous breath "had many a city slain," and whose hide "no spear nor sword could pierce."

Every day a virgin was sacrificed to it, and at length it came to the lot of Sabra, the king's daughter, to become its victim. Decked out in bridal array she went out to meet the dragon; she was tied to the stake, and left to be devoured, when St. George appeared in full panoply and mounted on his charger. He vowed to take her cause in hand, and when the dragon came on the scene it was encountered by the hero, who wounded it, and binding it to the lady's girdle it was led like a "meek beast" into the city. St.

George there attacked it, thrusting his lance into its mouth, killed it on the spot, and a church dedicated to Our Lady and St. George was built to commemorate the event. After many adventures he carried off Sabra to England, where they were wedded, and at Coventry lived happily till their death.

In his history of the Order of the Garter Mr. Antis warmly censures those who would doubt the traditionary history of that saint, and says "he who would credit St. Ambrose will not detract from the honour of our George, the soldier and martyr of Christ, concerning the dragon and the deliverance of the beautiful royal virgin, which is related in so many pictures," adding that "he shall not contradict those who make an allegory of it, so that they do not deny the certainty of this history.... Suppose every one George, who being clothed with the virtue of baptism and armour of faith, keeps his earthly body in subjection by the due exercise of religion and piety, and by the armour of the Spirit overcomes, and by the true spiritual art crushes and confounds the serpent's poison, the snares of the old Dragon, and his diabolical arts and stratagems."

The dragon slain by St. George is simply a common allegory to express the triumph of the Christian hero over evil, which St. John the Evangelist beheld under the figure of a dragon. Similarly St. Michael, St. Margaret, St. Sylvester and St. Martha are all depicted as slaying dragons; the Saviour and the Virgin as treading them under foot; and St. John the Evangelist as charming a winged dragon from a poisoned chalice given him to drink. Even John Bunyan avails himself of the same figure, when he makes Christian encounter Apollyon and prevail against him.

A learned Frenchman, M. Clermont Ganneau, in a treatise lately published, traces the legend of St. George and the dragon to a very remote antiquity.

In the Louvre at Paris he found an Egyptian bas-relief, which he identified as the combat of Horus against Set, or Typhon, in the well-known Egyptian legend. It represents a man on horseback in Roman armour slaying a crocodile with a spear; but for the fact that the rider has a hawk's head, the group might easily be mistaken for the traditional combat of St. George and the dragon. Extending his investigations, M.

Ganneau has brought to light some most startling proofs of the connection between the eastern and western mythologies. We have therefore, he considers, evidence as clear and convincing as evidence from deduction can be, that the Egyptian "Horus and Typhon"; the Greek "Perseus and Andromeda"; the "Bel and Dragon" of the Apocrypha; the Archangel Michael of Christian legend who also slays the old dragon, are all one and the same story with that of our own St. George. We pa.s.s over the intermediate steps by which he reconciles the divergent names and qualities of the personages identified, and also the ingenious arguments as to the real meaning of the symbolism in the wors.h.i.+p of DAGON THE FISH-G.o.d.

In all the old romances dealing with feats of chivalry and knight-errantry the dragon plays an essential if not a leading part; and a romance without some dragon or monster was as rare as one without a valiant knight or a beautiful lady. But of all the malignant creatures dreaded of G.o.ds and men, the most hateful and wicked is that prime dragon personified by Spenser under the type of the "blatant beast," and which confronts his hero, the Red Cross Knight, at every turn: "a dreadful fiend, of G.o.ds and men ydrad," who has a thousand tongues, speaks things most shameful, most unrighteous, most untrue, and with his sting steeps them in poison.

As an example of the inception and development of a dragon legend from slender materials, the following is related in Figuer's "World before the Deluge":

In the city of Klagenfurth, in Carinthia, is a fountain on which is sculptured a monstrous dragon with six feet, and a head armed with a stout horn. According to popular tradition this dragon lived in a cave, whence it issued from time to time to ravage the country. A bold and venturous knight at last kills the monster, paying with his life the forfeit of his rashness. The head of the pretended dragon is preserved in the Hotel de Ville, and this head has furnished the sculptor for a model of the dragon on the fountain. A learned professor of Vienna on a visit to the city recognised it at a glance as the cranium of the fossil rhinoceros. Its discovery in some cave had probably originated the fable of the knight and the dragon--and all similar legends are capable of some such explanation when we trace them back to their sources and reason the circ.u.mstances on which they are founded. The famous bird, the roc, which played so important a part in the myths of the people of Asia, is also believed to have originated in the discovery of some gigantic bones.

Chief among DRAGON-SLAYERS of Christian legend we find the following:

_St. Philip the Apostle_ is said to have destroyed a huge dragon at Hierapolis, in Phrygia.

_St. Michael_, _St. George_, _St. Margaret_, _Pope Sylvester_, _St.

Samson_, Archbishop of Dol; _Donatus_ (fourth century), _St. Clement_ of Metz, all killed dragons--if we may trust old legends.

_St. Keyne_ of Cornwall slew a dragon.

_St. Florent_ killed a terrible dragon who haunted the Loire.

_St. Cado_, _St. Maudet_ and _St. Paull_ did similar feats in Brittany.

The town of WORMS (famous as the place at which the Diet of Worms was held before which the reformer Luther was summoned) owes its name to the "Lind-wurm" or dragon there conquered by the hero Siegfried as related in the "Nibelungen Lied." (_See_ p. 100.)

Drachenfels, on the Rhine (Dragon Rocks), is so called from the same monster; and at Arles and Rouen legends are preserved of victories gained by saints over the _Tarasque_ and _Gargouille_, both local names for the dragon. St. Martha conquered the fabulous Tarasque of the city of Languedoc, which bears the name of "Tarascon." Gargouille (waterspout) was the great dragon that lived in the Seine, ravaged Rouen, and was slain by St. Roma.n.u.s, Bishop of Rouen, in the seventh century. The latter name has come down to us in the term "gargoyle," applied to the monstrous heads which often decorate the waterspouts of old churches.

A strange relic of the ancient faith is perpetuated in the remains of early Celtic art in the curiously wrought interlaced monsters which form the chief ornament of ancient Irish crosses, and particularly in the borders and initials of illuminated ma.n.u.scripts, whose spirals and interminable interlacements of the most complex character, often allied with equally strange colouring, form a style perfectly unique in itself, and unlike any other; the elaborate knots terminating in draconic heads, and with wings and animal extremities in wonderfully ingenious patterns that seem almost beyond the limits of human ingenuity. In the kindred art of Scandinavia we find similar decoration founded on serpentine forms.

Another survival of the dragon myth exists in the name given to some of our fighting men on the introduction of firearms. A kind of blunderbus gave to the troops who used it the name of "dragoniers," whence is derived the well-known term dragoons. They used to be armed with _dragons_--_i.e._, short muskets--which spouted fire, like the fabulous beast so named. The head of a dragon was wrought on the muzzles of these muskets. We have all heard of the Dragonades, a series of persecutions by Louis XIV., which drove many thousands of Protestants out of France--and out of the world. Their object was to root out "heresy." A bishop, with certain ecclesiastics, was sent to see if the heretics would recant; if not they were left to the tender mercies of the Dragonniers, who followed these "ministers of peace and good will to men." The same game of conversion was practised by the Reformed Church upon the Presbyterians of Scotland, with its accompaniment of "dragons let loose"--in which Claverhouse took a leading part.

"In mediaeval alchemy the dragon seems to have been the emblem of Mercury; hence the dragon became one of the 'properties' of the chemist and apothecary, was painted upon his drug pots, hung up as his sign, and some dusty stuffed crocodile hanging from the ceiling in the laboratory had to do service for the monster, and inspire the vulgar with a profound awe of the mighty man who had conquered the vicious reptile."[6]

When apothecaries' signs were not derived from heraldry, they were used to typify certain chemical actions. In an old German work on alchemy one of the plates represents a dragon eating his own tail; underneath are the words which, translated, signify: "This is a great wonder and very strange; the dragon contains the greatest medicament," and much more of similar import.

The Dragon in the Royal Heraldry of Britain

"_Advance our standards, set upon our foes, Our ancient word of courage fair Saint George Inspire us with the spleen of fiery dragons._"

"Richard III.," Act v. sc. 3.

"_Come not between the dragon and his wrath._"

"King Lear," Act i. sc. 2.

The dragon does not seem to have been a native emblem with the Romans, and when they adopted it it was only as a sort of subordinate emblem--the eagle still holding the first place. It seems to have been in consequence of their intercourse with other nations either of Pelasgic or Teutonic race. Amongst all the new races which overran Europe at the termination of the cla.s.sical period the dragon seems to have occupied nearly the same place that it held in the earlier stages of Greek life. Among the Teutonic tribes which settled in England the dragon was from the first a princ.i.p.al emblem, and the custom of carrying the dragon in procession with great jollity on May eve to Burford is referred to by old historians. The custom is said by Brand also to have prevailed in Germany, and was probably common in other parts of England.

Nor was the dragon peculiar to the Teutonic races. Amongst the Celts it was the symbol of sovereignty, and as such was borne on the sovereign's crest. Mr. Tennyson's "Idylls" have made us familiar with "the dragon of the great Pendragons.h.i.+p" blazing on Arthur's helmet as he rode forth to his last battle, and "making all the night a stream of fire." The fiery dragon or drake and the flying dragon of the air were national phenomena of which we have frequent accounts in old books.

The Irish _drag_ means "fire," and the Welsh _dreigiaw_ (silent flashes of lightning) "fiery meteors"; hence Shakespeare says:

"Swift, swift, ye dragons of the night!--that dawning May bare the raven's eye."

_Cymbeline_, ii. 2.

A princ.i.p.al source of the Dragon legends in these countries is the Celtic use of the word "_dragon_" for "a chief." Hence Pen-dragon (_sumus rex_), a sort of dictator in times of danger. Those knights who slew a chief in battle slew a dragon, and the military t.i.tle soon got confounded with the fabulous monster. The name or t.i.tle _Pendragon_ (dragon's head) was among British kings and princes what Bretwalda was among the Saxons; and his authority or supremacy over the confederation was greater or less according to his valour, ability, and good fortune. Arthur succeeded his father Uther, and was raised to the pendragons.h.i.+p in the first quarter of the sixth century.

The dragon was a symbol among the heathen. One of the sons of Odin was thus invoked: "Child of the Dragon, Son of Conquest, arise! grasp thy silver spear; thy snowy steed prepare and haste thee to the strife of the s.h.i.+eld! Uprise thou Dragon of Onslaught!" And again:

"Wave high the dragon's flaming sign, Roll wide the shout of glee; Ho! conquest ope thy crimson gates This day I give to thee."

"The Dragon of the s.h.i.+eld struck his sounding war-board with his ponderous spada. The fierce-browed children of Hilda gathered round at the signal."

Maglocue, a British king who was a great warrior and of a remarkable stature, whose exploits had rendered him terrible to his foes, as a surname was called "The Dragon of the Isle," perhaps from his seat in Anglesey.

Cuthred, King of Wess.e.x, bore a dragon on his banner. A dragon was also the device of the British King Uther Pendragon, or Dragon's-head, father of that King Arthur of chivalric memory, who so bravely withstood the incursions of the Saxons. _Two dragons addorsed_--that is, back to back--are ascribed to Arthur, as well as several other devices.

[Ill.u.s.tration: Dragon Standard. From the Bayeux Tapestry.]