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 chariot drawn by a stag. The fluttering veil and wind-blown hair and garments give an effect of breezy motion to the picture. A quiver full of arrows is slung across her shoulder, with the bow. The crescent moon gleams above her forehead. A charming picture of the same goddess sporting with her nymphs in a smiling landscape is by Domenichino, in the Borghese Villa, Rome. The fair shepherd Endymion, with whom Diana fell in love as he lay asleep among his flocks, is also treated in art. There is a little circular panel by the old Venetian painter Cima, in the Parma Gallery, and a lunette by Walker in the Congressional Library, both showing the youth asleep. As Diana is attended by nymphs, so Apollo, as patron of the arts, is surrounded by the nine muses. Thus we see them all circling around in a rhythmic dance in the picture by Giulio Romano, in the Pitti, Florence. Another picture of these figures may be had by isolating the central group in Raphael’s famous fresco of Parnassus. Apollo’s pursuit of Daphne is a subject painted by Giorgione (Seminario, Venice), but the figures are rather inconspicuous in a landscape. A graceful group by the late Italian sculptor Bernini is in the Borghese, at Rome.

The Marriage of Bacchus and Ariadne is not an especially important incident in mythology, but it happens to be the subject of one of the finest works of the Venetian Renaissance. The picture is by Tintoretto, in the Venice Academy. Venus hovering in the air joins the hands of the lovers and marries them with a ring. Grace and poetry of motion, flow