THE* CAT IN ART 115 



other bright-hued birds perched on their branches. 

 In the foreground, close to Judas, sits bolt upright 

 a very intelligent cat, mistrustful, unfriendly, sullen. 

 Her attitude and expression cannot be misunder- 

 stood. We all know how a cat looks when com- 

 pelled to endure the society of a dog, with whom she 

 is assumed to be on friendly terms, but for whom 

 she cherishes the deep suspicion, and deeper ani- 

 mosity, of her race. 



It was one of the traditions of Italian art to intro- 

 duce a cat into representations of the Last Supper, 

 even when these were not painted for convent walls. 

 There is a very fine puss in Andrea Schiavone's 

 picture which hangs in the Borghese Gallery ; and, 

 amid the gloom of Tintoretto's giant canvases, we 

 may occasionally see — if we look long enough — 

 a black cat lurking in the densest shadows, its 

 rounded back a mere patch of darkness against the 

 deeper darkness beyond. Even Benvenuto Cellini 

 has placed a cat at the feet of Judas in one of his 

 most beautiful bas-reliefs ; but then Cellini was 

 without doubt enamoured of the whole furry race. 

 Delicacy, daring, and an absence of moral standards 

 could not fail of their attractions for him. Among 

 the admirable specimens of his workmanship in the 

 treasury of the Pitti Palace is a silver dish, showing 

 in relief the blessing of Jacob. Rebecca's cat lies 

 curled close at Isaac's feet, watching father and son 



