CRIVELLI TO VERONESE 



Verona) in many subjects from the Gospels. Amongst 

 these are the Adoration (National Gallery, Dresden, 

 and Milan), the Feast of Cana and the Disciples 

 of Em7naMS (Louvre), and the Supper at the Pharisees 

 House (Venice, Accademia). In this last the dog is in 

 front, and it appears from a document discovered by 

 M. Basquet that in 1573 Veronese had to appear before 

 the Holy Office on account of this picture, which was 

 painted for a convent. The frank inclusion of every- 

 day life of which we spoke is now connected, in the 

 mind of the Counter-Reformation, with heresy. The 

 " buffoons, dwarfs, drunken Germans and other fool- 

 eries " were objected to, and it was suggested that the 

 Magdalen should be put in the place occupied by the 

 dog. 



In the National Gallery Adoration (painted in the 

 same year), the dog has on a collar of blue material laid 

 over the leather. An arresting incident in the very 

 middle of this picture is a man striking up with all his 

 force at a refractory and vicious-looking camel, whose 

 snarling lips are well rendered. The Mary Magdalene 

 in the hozcse of Simon the Pharisee (Turin) has two dogs 

 in the foreground, one coming from under the tablecloth, 

 and a parrot on the ledge of the portico screws round its 

 head to look down with one eye at the excited group 

 of Pharisees below. Two dogs have got a cat down 



97 G 



