The story explains why the painter chose the unusual theme of a
sleeping dog. Ordinarily he delighted in showing the expressiveness of
a dog's eye. This being here impossible on account of the model's
condition, we have instead a picture which we would not exchange even
for Suspense or Dignity and Impudence. If we have here less of those
higher qualities which are brought out in the dog's human
relationships, we see the better the purely animal side of his nature.

The union of power with repose is a rare combination in art, and one
we associate with Greek sculpture. The picture of the Sleeping
Bloodhound has what we call plastic qualities. We have a sense of the
massive solidity of the dog's body, as if he were modelled in clay.
In this respect the picture should be compared with the Newfoundland
dog called the Distinguished Member of the Humane Society, and with
the lion of the Nelson monument.

The helmet beside the dog is one of those picturesque accessories
which Landseer enjoyed putting into his works. Like the gauntlets in
the picture of Suspense, it suggests the knightly deeds of chivalry
with which the bloodhound seems appropriately associated. The
reflection of light from the polished surface of the metal makes an
effective touch in the picture.

It is by no accident that the helmet occupies the place it does; it is
an essential part of the composition, serving precisely the same
purpose which the cavalier's hat does in the picture of the King
Charles Spaniels. Both compositions gain by this device the necessary
height to balance their horizontal lines.

XII

THE HUNTED STAG

In his study of the deer in the Scottish Highlands, Landseer found
almost inexhaustible material for his art. In fact, nothing of
interest escaped him in the life of this noble animal. If we could
have a complete collection of his pictures on this subject, they would
set forth the entire story of the deer. The painter, as we have seen,
did his hunting with a sketch-book, and brought home, instead of so
many head of game, so many pictures with which to delight future
generations. Many of these pictures deal with tragic subjects, as in
our illustration of a Hunted Stag borne down a mountain torrent with
the hounds upon him. The pathetic side of animal life appealed
strongly to Landseer's dramatic imagination. He who could see so
readily the comic aspects of a situation was equally quick in his
appreciation of suffering.