Observe, for the technical merits of this picture, the horse-bridle: "An example of true painter's work in minor detail; unsurpassable, but not, by patience and modesty, inimitable" (_Academy Notes_, 1875, p. 48). As for the subject, the warrior portrayed is nameless. This is suggestive; it is not a peculiar picture, it is a type of what was the common method of Venetian portraiture. "An English gentleman, desiring his portrait, gives probably to the painter a choice of several actions, in any of which he is willing to be represented. As for instance, riding his best horse, shooting with his favourite pointer, manifesting himself in his robes of state on some great public occasion, meditating in his study, playing with his children, or visiting his tenants; in any of these or other such circumstances, he will give the artist free leave to paint him. But in one important action he would shrink even from the suggestion of being drawn. He will assuredly not let himself be painted praying. Strangely, this is the action which, of all others, a Venetian desires to be painted in. If they want a noble and complete portrait, they nearly all choose to be painted on their knees" (_Modern Painters_, vol. v. pt. ix. ch. iii. § 15). Notice also the little dog in the corner--"one of the little curly, short-nosed, fringy-pawed things which all Venetian ladies petted." "The dog is thus constantly introduced by the Venetians (in Madonna pictures) in order to give the fullest contrast to the highest tones of human thought and feeling.... But they saw the noble qualities of the dog too--all his patience, love, and faithfulness ...," and introduced him into their sacred pictures partly therefore in order to show that "all the lower creatures, who can love, have passed, through their love, into the guardianship and guidance of angels" (_Modern Painters_, vol. v. pt. ix. ch. iii. § 21, ch. vi. § 14; _Fors Clavigera_, 1877, p. 31).[118] 235. THE DEAD CHRIST. _Giuseppe Ribera, called Spagnoletto_ (Spanish: 1598-1648). Ribera is a leading artist amongst what are called the _Naturalisti_ or _Tenebrosi_ (an alternative title, curiously significant of the warped and degraded principle of the school, as if "nature" were indeed only another name for "darkness").[119] His works show remarkable force and facility; his subjects were painful. As Byron says-- Spagnoletto tainted His brush with all the blood of all the sainted.