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HE heraldic catalogue of beasts runs riot when we reach those mythical or legendary creatures which can only be summarised under the generic term of monsters. Most mythical animals, however, can be traced back to some comparable counterpart in natural history.

The fauna of the New World was of course unknown to those early heraldic artists in whose knowledge and imagination, no less than in their skill (or lack of it) in draughtsmanship, lay the nativity of so much of our heraldry. They certainly thought they were representing animals in existence in most if not in all cases, though one gathers that they considered many of the animals they used to be misbegotten hybrids. Doubtless, working on the assumption of the mule as the hybrid of the horse and the ass, they jumped to the conclusion that animals which contained salient characteristics of two other animals which they knew were likewise hybrids. A striking example of their theories is to be found in the heraldic Camelopard, which was anciently devoutly believed to be begotten by the leopard upon the camel. A leopard they would be familiar with, also the camel, for both belong to that corner of the world where the north-east of the African Continent, the south-east of Europe, and the west of Asia join, where were fought out the wars of the Cross, and where heraldry took on itself a definite being. There the known civilisations of the world met, taking one from the other knowledge, more or less distorted, ideas and wild imaginings. A stray giraffe was probably seen by some journeyer up the Nile, who, unable to otherwise account for it, considered and stated the animal to be the hybrid offspring of the leopard and camel. Another point needs to be borne in mind. Earlier artists were in no way fettered by any supposed necessity for making their pictures realistic representations. Realism is a modernity. Their pictures were decoration, and they thought far more of making their subject fit the space to be decorated than of making it a "speaking likeness."

Nevertheless, their work was not all imagination. In the Crocodile