Ilaria lies with hands crossed just where they would naturally fall in her sleep.[24] Her feet rest against a little dog, which, according to the old writer, Vasari, was an emblem of conjugal fidelity. It is surely no harm to fancy that the little creature was the lady's pet. The gown is girdled high, and falling in long, straight folds, is wrapped about the feet. Over this is worn a mantle made with large, loose sleeves, and a high flaring collar, which comes well up under the chin.[25] [Illustration: DETAIL OF TOMB OF ILARIA DEL CARRETTO (JACOPO DELLA QUERCIA) _Cathedral, Lucca_] Our illustration shows only the head and shoulders of the figure. The head rests on a pillow in a hollow shaped to receive it, and the shoulders are supported by a second and larger cushion underneath. Ilaria's waving hair is parted over the high brow, and brought down on each side the face, completely concealing the ears. A few short tendrils have escaped, and curl daintily over the forehead. She wears a large flower-wound wreath or crown, set aslant over the shapely head. It may be that this is a sort of head-dress worn in her time. No one can look at the face without thinking of a flower, and most of all of the lily. The mouth is moulded in exquisite curves; Ilaria was, indeed, a bewitching woman. Had the fair marchioness lived to middle age her fortunes would have been sadly altered. In 1430 there was a political upheaval in Lucca, and Guinigi was driven from the city.[26] His palace was pillaged, and the mob even laid desecrating hands upon Ilaria's tomb. An attempt to remove it seems to have been frustrated, and it was dropped on the floor of the transept, where it now stands. It lost, however, the canopy and one ornamented side of the base.