THE GREYHOUND. 



usually in remarkably characteristic atti- 

 tudes, as in the third dog in the panel at the 

 head of this chapter, which is copied from 

 a wine jug of 500 B.C. This is the dog of 

 Cheiron the Centaur, fawning in front of 

 Peleus and the infant Achilles. Usually 



the fifteenth century, and Albert Diirer, in 

 the same period, introduced a beautifully 

 typical Greyhound in his pictorial interpre- 

 tation of the somewhat similar subject, 

 " The Vision of St. Hubert." The hound 

 in Van Dyck's portrait of Philippe Le Roy, 



THE VISION OF ST. EUSTACE. 

 From the Painting by Vittore Pisano in thi 



these Greek Greyhounds are represented 

 with prick ears, but occasionally the true 

 rose ear is shown, and in the British Museum 

 there is a bronze lamp of the fourth century 

 B.C., made in the form of a Greyhound's 

 head, which might have been modelled by 

 Elkington from Fullerton or Long Span. 

 The lip of the lamp is fashioned in the form 

 of a hare, held in the hound's mouth, thus 

 proving that the hare was the recognised 

 quarry. 



The Greyhound enters largely into more 

 modern European art. There is an admir- 

 able leash of these dogs in Vittore Pisano's 

 " Vision of St. Eustace," painted early in 



now in the Wallace collection, is black 

 with white markings, very much resembling 

 Master McGrath. All these examples give 

 eloquent proof of the conservation of the 

 Greyhound type. 



From the earliest history of the breed 

 the Greyhound has been considered the 

 highest type of the canine race ; he has 

 been the favourite of Emperors and Kings. 

 Xenophon and Herodotus extolled his high 

 qualities in prose, and Ovid in verse, though 

 there appears to be some doubt as to whether 

 or not Xenophon in his treatise on hunting, 

 when speaking of coursing, alluded to dogs 

 hunting the hare by scent or by sight, but 



