Centaurs vs. Sirens: A Medieval Showdown

By Lorris Chevalier

What do a half-man, half-horse archer and a seductive half-fish siren have in common? In medieval art, they engage in an eternal struggle, symbolising the battle between vice and virtue. The siren and the centaur, two hybrid creatures, represent the duality of human nature. The siren, half-woman and half-fish, symbolises seductive and sensual temptations, while the centaur, half-man and half-horse, evokes brutal instincts and savagery. Together, they encapsulate the tensions that define human existence.

Biblical Roots of the Siren-Centaur Conflict

This symbolic association is rooted in Scripture, where the prophet Isaiah describes the ruins of Babylon as haunted by “the siren and the onocentaur.” In the Latin Vulgate, Isaiah 13:21-22 reads:

Sed ibi cubabunt bestiae, et replebuntur domus eorum draconibus, et habitabunt ibi struthiones, et pilosi saltabunt ibi. Et respondebunt ibi ululae in aedibus eius, et sirenae in delubris voluptatis.

This passage evokes the wild creatures that will inhabit Babylon’s ruins, including “pilosi” (hairy creatures) and “sirenae” (often interpreted in Christian tradition as seductive demons or spirits).

In the Greek Septuagint (LXX), the verses translate as:

ἀλλὰ κατοικήσουσιν ἐκεῖ θηρία καὶ ἐμπλησθήσονται οἱ οἶκοι ἤχων, καὶ ἀναπαύσονται ἐκεῖ σειρῆνες, καὶ δαιμόνια ὀρχήσονται ἐκεῖ· καὶ ὀνοκένταυροι κατοικήσουσιν ἐκεῖ, καὶ ἔσται ἡ κατοίκησις δρακόντων, καὶ αὐλήσις θυγατέρων σειρήνων.

The term “σειρῆνες” (seirênes) refers to sirens or dancing spirits, unsettling supernatural beings. The mention of “onocentaurs” (ὀνοκένταυροι) adds depth to the beings inhabiting these desolate places, reinforcing the inhospitable nature of Babylon’s ruins. Medieval bestiaries, inspired by this vision, often paired the two creatures, attributing complementary or interchangeable meanings to them.

How Bestiaries Interpreted Sirens and Centaurs

Medieval bestiaries, such as Philippe de Thaon’s Bestiary and the Physiologus, serve as major iconographic sources for understanding the symbolism of these creatures. The siren is portrayed as a mirror of feminine temptation, often associated with objects like mirrors or combs. The centaur, as a half-human, half-animal figure, embodies the duality of the human soul, torn between reason and bestiality. In several medieval manuscripts these figures are depicted in a dynamic chase, where the centaur appears to pursue the siren, symbolising the struggle between carnal allure and self-control.

Sculptural Depictions of Conflict

The opposition between the siren and the centaur is vividly expressed in Romanesque and Gothic sculpture. In churches located in Toulouse, Agen, Saint-Rémy-de-Provence, and in Spain at places like Zamora and Santiago de Compostela, centaurs are often depicted shooting arrows at sirens, illustrating a symbolic battle against vices. For example, in Girona, centaurs aim at aquatic sirens, depicting an allegorical hunt where the centaur embodies a desperate quest to dominate the seductive desires represented by the siren. This iconography portrays an erotic and symbolic pursuit, where the centaur chases the siren without ever being able to grasp her, reminding viewers of the elusive and illusory nature of carnal pleasures.

Symbolism in Architecture

The interplay between the two figures creates a space where the conflict between vices and virtues unfolds before the eyes of onlookers. This confrontation serves as a reminder of the duality present within every individual: the temptation to indulge in worldly pleasures versus the effort to master primal instincts. Through this juxtaposition, medieval sculptors etched a warning against the dangers of sin into stone. The centaur’s wooden staff, held on his shoulder, enhances the symbolic opposition between these two mythological figures. This staff represents both a military tool and a sign of strength and dominance. In this context, it evokes the centaur’s ability to assert his authority over territory, highlighting his role as a predator in a landscape where conquest and territorial mapping are paramount.

Masculinity and Femininity

As a military symbol, the staff evokes notions of power, conquest, and noble status. The centaur, embodying a blend of human and beast, represents a masculinity tied to aggression and self-assertion. This masculine force stands in stark contrast to the siren, often depicted in a more elongated form, holding a scroll that embodies both allure and the capacity to seduce. The siren, with her graceful demeanour, symbolises temptation and charm, but also evokes a sense of fragility and vulnerability in the face of the centaur’s brutality and strength.

Thematic Reflections

The opposition between the siren and the centaur highlights not only their differences but also broader tensions between concepts of power, control, and seduction in medieval culture. The centaur, wielding his staff, asserts himself as a figure of military and territorial power, while the siren, holding her scroll, embodies the inherent dangers of seduction, symbolising an ongoing struggle between the forces of human nature and the virtues of self-control. The timeless struggle between reason and temptation, vividly depicted in medieval art, resonates even today as we grapple with our inner contradictions and aspirations.

Moral Ambiguity

In this opposition, the siren and the centaur become symbols of human moral ambiguity, each embodying a vice and a notion of restraint, distinguishing between the sacred and the profane, the savage and the civilised. Sirens are often depicted with flowing hair and mirrors, symbols of vanity and lust, while centaurs with their bows and arrows express a relentless pursuit of insatiable desires. In their confrontation, they remind us that human nature is perpetually faced with temptation, and yielding to these impulses leads to a place of perdition. The symbolism of the siren and the centaur in medieval architecture and art, reflected in various and rich works, reveals a profound medieval understanding of internal spiritual struggles.

Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon