ANIMAL LIFE IN ITALIAN PAINTING 



demanded : their heads only appear looking towards 

 each other in a devotional manner over the manger ; 

 or as a symbol ; St. Agnes' lamb, for instance, in the 

 lovely Coronation of the Virgin (Louvre). But even 

 here it is no heraldic diagram. It looks up confidingly 

 to the saint for notice ; there is sympathy between saint 

 and symbol. He has, however, painted a camel in the 

 Buinalof SS. Cosmo and Damian (Florence, Accademia), 

 and camels' heads on the predella of the Madrid 

 Annunciation (Prado). 



Ucceilo, Vasari has a great deal to say about Paolo di Dono, 



1397-1475 called, from his love of birds, Ucceilo. 



He states that this artist was too poor to keep 

 pets, as he would have liked, so " he had numbers of 

 painted birds, cats, and dogs in his house, with every 

 other animal of which he could get the portrait." The 

 fact, however, that Ucceilo lived in his own house 

 suggests that he was not quite so abjectly poor as 

 Vasari would have us suppose. 



In the Battle of S. Bgidio, or of S. Romano as now 

 seems more probable (National Gallery), the perspective 

 and foreshortening of the horses has evidently been the 

 main interest, and the snub-nose mentioned by Mr. 

 Berenson is fully in evidence.^ They seem to share in 



^ " Very rarely is the mere type so peculiar as to form a test of 

 authorship — indeed I make this category to fit into it at the very most 



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