FILIPPO LIPPI TO BRONZING 



and gall cut out, to be used as a charm against the 

 strangling spirit. They then cook and eat the fish, and 

 proceed on their journey. It is at this point that the 

 painter usually steps in. But in spite of the fish having 

 been cooked and eaten, it is always represented as being 

 carried in the hand of the youth. Here a red line down 

 the under side of the fish, which is painted with the 

 minutest realism, shows that the disembowelling has 

 taken place. Neither here nor elsewhere is it of a size to 

 attempt to swallow Tobias with much hope of success. 



The white Bolognese dog has been lightly painted 

 in, as an afterthought, over the bushes and road of the 

 background. Morelli ascribes this painting to Piero 

 del Pollajuolo, and thinks that the dog was probably a 

 pet of the brothers Pollajuolo. 



Alesso Baldovinetti is notable for his own love of 

 painting birds and animals, and for the naturalistic 

 influence he must have exerted upon the art of his 

 pupil Ghirlandajo. Vasari mentions the snake on the 

 wall in the fresco of the Nativity in the portico of the 

 Annunziata at Florence. 



Domenico Bigordi, called from his work on the Ghirlandajo, 

 jewelled coronals worn by the Florentine maidens del ^449-i494 

 Ghirlandajo, shares with his contemporary Pinturicchio 

 the habit of painting the wild-duck and the pursuing 

 hawk in the skies of his frescoes. 



41 



