LOMBARDY 



in the Cathedral, Como, where it is led by a man with 

 a rope, and looks back over (a good way over) its 

 shoulder. An elephant, a tiger (?), and camels are in- 

 cluded in the procession. 



In the Crucifixion, at Lugano, his pleasure in paint- 

 ing the dog with the soldiers who have been dicing for 

 the seamless coat is very evident. Another dog occurs 

 in the left-hand corner of the fresco, turning its back 

 upon the group of holy women. 



A cat sits at the feet of Judas in the fresco of the 

 Last Supper in the same church. A cat and dog are 

 painted in the Spozalizio in San Maurizio, Milan. 



A portrait of a lady, attributed to Luini, was shown 

 at the Exhibition of Early Italian Art at the New 

 Gallery in 1893-4: she is carrying in her right hand 

 a pet animal of the marten tribe. In the Czartoryski 

 Gallery, Cracow, is a similar picture, perhaps by Bol- 

 traffio, in which the animal, which may be a ferret, 

 looks round, its paws on the girl's left arm as she 

 caresses it with her right hand. 



Sodoma's portrait of himself at Monte Oliveto, Sodoma, 

 attended by badgers and ravens, suggests at once his 

 fondness for animals. He kept birds there while paint- 

 ing the frescoes of the Life of St. Benedict, ordered by 

 the monastery, and in the still extant accounts are the 

 charges for seed. 



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