FILIPPO LIPPI TO BRONZING 



hound is part of the story. His grief and perplexity 

 yet trust in the kindly intentions of the satyr are well 

 portrayed. Perhaps he is the only dog in the Gallery 

 whose name, Lailaps, is known. The cranes^ and the 

 pelican seem to be arbitrarily introduced, though possibly 

 as a contrast in their life and movement ; unless we see 

 in the pelican who wounds herself for love a symbol of 

 the girl whose love brought death to herself. 



Even more full of life is the Hylas and the Nymphs 

 in the collection of Mr. R. H. Benson. One of the 

 nymphs carries in a fold of her robe a little white 

 Bolognese dog. There are many birds ; a pheasant, a 

 goldfinch, and a hawk in the flower-strewn foreground. 



A carefully detailed snake twines itself round a chain 

 on the neck of La Bella Simonetta (Chantilly). Venturi 

 thinks that it represents the asp of Cleopatra, with 

 reference to Simonetta's early death, ^ but it seems to 

 be the innocent ^sculapian snake. In the Jarves col- 

 lection (Newhaven, U.S.A.) is the Portrait of a Lady 



^ "Michael Field" (Miss Bradley and Miss Cooper), in Sight and Song ^ 

 calls these birds herons — 



" The dogs sport on the sand. 

 The herons curve about the reeds 

 Or one by one descend the air, 

 While helplessly she bleeds 

 From throat and dabbled hand" — 

 but they are plainly the common crane. 



* Storia delV Arte italiana, vol. vii. p. 701. 



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