ANIMAL LIFE IN ITALIAN PAINTING 



Among the animals surrounding the SL Jerome in 

 the possession of Mr. R. H. Benson, are a hawk, two 

 rabbits, a squirrel, and a lizard. A peacock, a stork, 

 and a partridge appear in a corner of the altar-piece in 

 St. Pietro Martire, Murano. 



A painting oi St. Francis of Assist'^ standing before 

 his cell and singing his canticle to the sun, illustrates 

 a line of influence mentioned in the first chapter. Here 

 animal life is represented by a well-drawn ass, sheep 

 and goats, a kingfisher, a crane, and a rabbit. The 

 crane has just settled on the narrow top of a column 

 of cliff; its wings are not yet at rest, fluttering while it 

 gets its foothold. The rabbit looks out through a hole 

 in the wall behind the Saint, its head only disengaged. 

 Its upturned eyes express amazement and cautious 

 curiosity rather than confidence. 



All the natural details, animate or inanimate, are 

 painted with great minuteness and individual beauty, 

 but the picture as a whole cannot be considered emotion- 

 ally satisfying. Nature is there, but irresponsive. 



In the Uffizi allegory he has travelled a long way 

 from the devotional simplicity of subjects like the Blood 



' Exhibited at the Royal Academy Winter Exhibition, 19 12, by the 

 trustees of the late Miss M. A. Driver. In spite of the apparently genuine 

 signature, it is considered by Mr. Roger Fry to be by Basaiti, and un- 

 doubtedly has strong likeness to such work as the National Gallery 

 Madomta of the Meadow, and St. Jerome Reading. 



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