ANIMAL LIFE IN ITALIAN PAINTING 



dead girl adds to the loathsomeness of the fate from 

 which the Princess is to be rescued, but the lizard 

 does not eat flesh. Three vultures settle on a heap 

 of putrefying remains in the background. 



In the S^. Jerome series, the most interesting (and 

 amusing) picture is perhaps that in which the monks 

 flee pell-mell from the lion, in spite of the Saint's 

 deprecating gestures and the beast's own apologetic 

 and ingratiating air. This painting is rich in animal 

 life. A fallow deer, a rabbit, and a peacock share 

 in the flight of the monks, but another rabbit, two 

 other deer, a genet, a guinea - fowl, the inevitable 

 parrot and other birds are quite undisturbed. The 

 parrot was now often painted, though this is recog- 

 nisable as Carpaccio's model, but he seems to have 

 struck out a new line with his oruinea-fowl.^ 



There is a delightful little dog in the St. Jerome 

 in his Study, sitting bolt upright waiting eagerly for 

 his master to finish work, and hardly able to contain 

 himself. His paws seem to dance on the ground, 

 and one can almost hear his whimperings. The great 

 Doctor, busy with his translation, is just a little worried, 

 and looks out of the window with uplifted pen waiting 

 for the mot juste. 



^ This bird was amongst the presents made to Leo X. by the King of 

 Portugal (see p. 54). 



78 



