As subject he chose a verse from a poem by the Florentine Angelo Poliziano which had also helped to inspire Botticelli 's Birth of Venus . However long one looks at this lovely and cheerful picture, one will always discover new beauties in its rich and intricate composition.
Every figure seems to correspond to some other figure, every movement to answer a counter-movement.
We have observed this method in Pollaiuolo's showpiece. It is the same with the group of sea-gods which seems to be 'wheeling' round the nymph. There are two on the margins, who blow on their sea-shells, and two pairs in front and behind, who are making love to each other. But what is more admirable is that all these diverse movements are somehow reflected and taken up in the figure of Galatea herself. Her chariot had been driving from left to right with her veil blowing backwards, but, hearing the strange love song, she turns round and smiles, and all the lines in the picture, from the love-gods' arrows to the reins she holds, converge on her beautiful face in the very center of the picture.