One who has looked upon Leonardo da Vinci's Medusa at Florence--one of the finest interpretations of a mythologic subject ever painted--may comprehend what to the early explorer and colonist were the fascinations of those rumoured regions where nature was fair but girt round with terrors. The Gorgon's head alone is given, with its fearful tangle of serpent tresses; her face, even in its pain, possesses the beauty that may veil a fatal power; from her mouth is exhaled a vapour which in its outline has brought into life vampyre, newt, toad, and loathsome nondescript creatures. Here is the malaria of undrained coasts, the vermin of noxious nature. The source of these must be destroyed before man can found his city; it is the fiery poisonous breath of the Colonial Dragon. Most of the Dragon-myths of Great Britain appear to have been importations of the Colonial monsters. Perhaps the most famous of these in all Europe was the Chimæra, which came westward upon coins, Bellerophon having become a national hero at Corinth--almost superseding the god of war himself--and his effigy spread with many migrations. Our conventional figure of St. George is still Bellerophon, though the Dragon has been substituted for Chimæra,--a change which christian tradition and national respect for the lion rendered necessary (Fig. 31). Corresponding to this change in outward representation, the monster-myths of Great Britain have been gradually pressed into service as moral and religious lessons. The Lambton Worm illustrates the duty of attending mass and sanctity of the sabbath; the demon serpents of Ireland and Cornwall prove the potency of holy exorcism; and this process of moralisation has extended, in the case of the Boar, whose head graces the Christmas table at Queen's College, Oxford, to an illustration of the value of Aristotelian philosophy. It was with a volume of Aristotle that the monster was slain, the mythologic affinities of the legend being quaintly preserved in the item that it was thrust down the boar's throat.