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The Italian Greyhound in Art
Infant Louis XV by Pierre Gobert, Museo del Prado.
IIn pride of place is this sumptuous picture of Louis XV as a child, with an Italian Greyhound and a monkey painted by Pierre Gobert in 1714 who painted the infant on several occasions. For distribution to other countries when the continuation of the French Bourbons were in doubt. Not yet breeched, the infant wears a dress in heavily embroidered and woven damask, overlaid with gold and silk thread. The composition is soft and balanced the flamboyant embroidery on the dress; the headdress in gold and red with soft blue feathers to the back are mirrored in the blue sash with an order. The angelic features of the infant and interpretation of the animals are exquisite. The Italian Greyhound wears a blue collar with a red lead, which the king holds. The little dog is a rich chestnut/fawn and white. The characteristics are typical and well defined. Museo del Prado, Madrid. As a breed the Italian Greyhound is indeed blessed with the richest legacy of reference in all the art forms from bronze sculpture, oil paintings, watercolours, frescoes and pastel drawings, china and glass figurines. The history of the smallest of the sight hound is extensively and symphathetically depicted from the 11th century onwards especially in Italy, France, Spain and Great Britainn. There are more references to The "Small or miniature greyhound" than almost any other breed of that size. Dogs during the earliest recorded ages can be divided into the following groups:
Companion dogs
Guardian dogs
Hunting dogs
Herding dogs
The miniature greyhound falls into the category of Companion dogs, together with Papillon, Bolognese, Toy or Cavalier King Charles Spaniels and Pugs. Although the breed is referred to in the earliest references as the "Small or Miniature" greyhound , there appears to be no evidence that this breed is a diminutive of the greyhound or other sight hound. All these breeds existed in Europe at this time and were highly valued and cherished by Royalty and other important people. Pierre Gobert for example, was favoured by Louis XIV of France, from 1682 and was considered one of the most influential of portrait painters of his time. The Italian Greyhound appears with remarkable frequency in religious, symbolic, patriotic and renaissance art, which originated in the Italian city-states of the 14th century. In the two following examples the small hound has been chosen to represent "virtue" in the religious context and is there fore possibly painted in white or pale colours, to emphasise this.
The adoration of the Magi
The adoration of the Magi by Bosch .
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By Hieronymus Bosch 1450-1516. A vivid biblical scene depicting the Virgin Mary with the newborn infant Jesus on her knee surrounded by the Three Wise Men baring the traditional gifts, a shepherd and Angels. In the stable a well detailed cow and in the bottom foreground, just out of the light which bathes the Virgin, an Italian Greyhound in a typical pose, all the breeds fineness and elegance can be seen in detail. The colour could be white or cream with a red and gold collar. This is one of the most distinctive and beautiful paintings of the breed at this time.
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The Shrine of St. Ursula-The Marturdom of S. Ursula
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The Shrine of St.Ursula by Memling.
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Jan Memling 1433-1494. St. Ursula stands defiant in the left foreground clothed in a white and purple tabard styled dress. In the centre, bottom of the picture a white Italian Greyhound, "couchant" with front legs crossed in a breed typical pose with all the breed detail finely executed including a superb long whiptail. Soldiers in metal armour and holy men complete an enchanting picture.
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The Italian Greyhound was also seen as a symbol of wealth and this can be seen in the many paintings were the artist included dogs in commissioned works. The wealthy and influential Italian families of northern and middle Italy, kept large quantities of all sorts of dogs, from Mastiffs to Greyhounds, Bolognese and of course to the Italian greyhound. The Medici family of Florence was devoted to small companion dogs, reference Tiberrio Titi: "The Medici Dogs with the Court Dwarf in the Boboli Gardens", Florence and this ended only with the line itself in the mid-eighteenth century. Most of the artist, of the time, included animals, often dogs in their paintings, sometimes to "balance" the picture, sometimes to draw the viewers eye to a particular area or to simply "fill" a space. Dogs owned by the artists them selfs served, as conversation pieces during the sittings and patrons liked to have their owned dogs included as well. It is interesting to observe the frequent inclusion of Dwarfs with children and their dogs. Jeffrey Hudson the court and favourite dwarf of Charles I and Henrietta Maria can be seen in the painting by Daniel Mytens 1630 showing the King and Queen leaving for the chase, he is in charge of the hounds who appear to be typical Italian greyhounds. In another work of imagination the dwarf is seen feeding a brace of I.G.s whilst the King and Queen dine in public in Whitehall, HM Queen's collection. It is easy to understand how the confusion arose as to the size of some dogs and the figures that are also in some paintings. When clearly the dwarfs who were part of every imporant household were mostly included in famous paintings.
The Great Picture of the Clifford Family
The Great Picture of the Clifford Family, Unknown.
This magnificent picture measures about 18 1/2 ft by 9 ft overall, artist unknown. Here we see the right hand Panel painted in 1646 of Lady Anne Clifford then aged 56, she was married firstly to the Earl of Dorset and to the Earl of Pembroke (2nd husband), both of which are included in the painting in miniature pictures. Anne is in a black dress and veil with white collar and cuffs possibly in mourning, stretching to wards her knee is a small, typical white Italian Greyhound, crouching at the hem of her dress on the opposite side is a black and white cat. The picture is of superb quality with sharp colours and fine execution.
The fourth Duke of Marlbourgh, his wife Caroline and their six children
The Family of Fourth Duke of Marlbourgh by J.Reynolds, Blenheim Palace.
By Sir Joshua Reynolds, The Duschess stands tall in the middle of the picture, surrounded by her six children and her seated husband. The three dogs are clearly identified as two Cavalier King Charles spaniels of Blenheim colouration and a white, black and parti-coloured Italian greyhound. The execution of the picture has a mixture of seriousness and mischief ness, one of the younger children holding a mask, which appears to be disturbing the Italian greyhound and another of the younger children. The clothes are opulent and sumptuous. This magnificent painting hangs at Blenheim Palace, Oxfordshire.
Alphonse De Lamartine
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Alphonse De Lamartine by Decaisne.
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By Decaisne, Lamartine a poet was born 1790 in Macon, France. The oil painting shows the poet in a landscape, leaning on some rocks, a notebook by his side. Two Italian greyhounds, one lying down at his side with a foreleg on the poets leg, coloured white and fawn parti-coloured with a fine red collar the other also white and fawn facing away from the owner. Both hounds are fine, delicate and very typical. The landscape and poet are sombre in coloration only broken by a sunset and the light, which fall on the two hounds. Very sharp execution and style.
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A Thoroughbred Italian Greyhound
A thoroughbred Italian Greyhound by Alfred de Dreux.
By Alfred De Dreux 1810-1860. This picture 34 x 46" shows a magnificently painted, white Italian Greyhound standing in a landscape, nothing is know about this dog or whom it was painted for. The red and gold collar with lettering and a small medallion is finely executed. The capion and date indicates that there is no doubt that this is an Italian greyhound.
Lady Godiva
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Lady Godiva by Marshall Claxton, Coventry Art Museum.
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By Marshall Claxton, 1850 the picture of Lady Godiva is a Victorian, romantic interpretation of the ancient true accuranse in Coventry, Warwickshire.
The half naked figure of Lady Godiva dominates the picture were she prepares to mount her horse for the ride naked through the streets of Coventry. The white horse is bridled up in gold, red and blue and is making friends with the most lovely dark brown and white Italian Greyhound. The little dog is in a typical pose the fore legs lifted and the head held high, near the horse's head, wares a blue and gold collar with a tiny bell at the front. It is said that the dog was Lady Godiva's own. Coventry Art Museum.
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The rose-bud, or The Judgment of Paris
The Rosebud by Richard Weston.
An enchanting watercolour by Richard Westall, exhibited at the Royal Academy in 1792 as "the Rose-bud from Prior" or the Judgment of Paris. The colours in the picture are very delicate and airy; the lover is dressed in a scarlet and white tunic with elegant breeches, sitting on a stool, holding a pocket watch. The woman, dressed in flowing white and pale blue, with a delicate garland off flowers on her blond hair, has at her heels a white and pale fawn Italian Greyhound. The dog is well proportioned and elegant, with a pale blue ribbon tied in a bow and round its neck. Just behind the woman are two other women in brown possibly chaperones carrying a parasol. Richard Westall.
The Judgement of Cambyse.
And the Virgin and Child with Saints and Donour
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The judgment of Cambyses by Gerard David.
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The Virgin and Child with Saints and Donor by Gerard David.
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Both by Gerard David. I have been intrigued by the similarity of these two paintings. Although the subjects are different, there are some interesting similarities "The judgment" was painted between 1480 - 1484 it was David's first painting and reflects the Dutch influence. The subject is taken from Herodotus, the judge Sisamnes, who was arrested and punished by Cambyese, the king of Persia. David's panels were intented as a stern warning to judges against to temptations of corruption.
The Virgin and Child, painted probably 1510, are enthroned in a walled garden, on the right St.Barbara reads a book. Mary Magdalene seated next to her holds an ointment jar, on the left St Catherine receives a ring from the infant Christ. The picture was almost certainly commissioned by the kneeling figure on the left, Richard de Visch van der Capelle, a cantor of the St Donation, Bruges. His identity is recorded in the coat of arms on the Italian Greyhound's collar. The picture was almost certainly intended for the alter of St Catherine there. The marble floors in both paintings are detailed in their patter, also in both paintings the small hound lie in a typical pose, their backs to the principal figures and have red collars with crests and both are cream and fawn.
There is in the "judgment picture" a second dog on the floor. This appears to be dark red, fine limbed but with a "bushier" tail, deeply involved in its own toilette. The interval between the two paintings is 26 years. The two dogs depicted are Italian Greyhounds, painted in typical pose, fine and elegant, with small neat ears and fine coats. Anna Marshall
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