unknown to later generations, deterred those early artists from a more obvious method of expressing their meaning, the idea of the Centaurs' lewdness was really present to their minds, then Chiron too falls under the same condemnation and is tainted with the same vice as the rest. 'A black-figured vase,' says Prof. Ridgeway, à propos of the virtues, not of the vices, of this one Centaur, 'shows the hero (Peleus) bringing the little Achilles to Chiron, who is depicted as a venerable old man with a white beard and clad in a long robe from under the back of which issues the hinder part of a diminutive pony, the equine portion being a mere adjunct to the complete human figure[1].' So far then as the animal part is concerned, the representation of Chiron in early art differs no whit from that of other Centaurs, and the quality, which is symbolised by the equine adjunct in these, is imputed to him also. Yet to convict of bestial lust the virtuous Chiron, the chosen teacher of great heroes, is intolerable. In effect, no explanation of the name Pheres in mythology and of the biform representation of the Centaurs in art can be really satisfactory which does not reckon with Chiron, the most famous and 'the most just' of the Centaurs, as well as with the rest of the tribe. Some characteristic common to them all—and therefore not lust or any other evil passion—must be the basis of any adequate interpretation of the name 'Beasts.'
If then the name Pheres cannot have been an opprobrious term applied to the Pelasgian tribe of Centauri by the Achaean invaders in token of their lusts or other evil qualities, can it have been a term of respect? It may not now sound a respectful title; but in view of that ethnological principle which Prof. Ridgeway enunciates, namely 'that conquering races frequently regard the conquered both with respect and aversion,' the enquiry is worth pursuing. The principle itself seems to me well established; it is only his application of it in the particular case of the Centaurs to which I have demurred.
The conquering race, he shows, are apt to respect the conquered for their skill as wizards. This certainly holds true in the case before us. Chiron was of high repute in the arts of magic
- ↑ Ridgeway, Early Age of Greece, I. p. 174. The vase in question is figured by Colvin in Journ. of Hellenic Studies, Vol. I. p. 131, Pl. 2, and by Miss Harrison, Prolegomena etc. p. 384.
