For broad comedy the picture of S. Jerome and the lion on the right wall is the best. The story tells us that S. Jerome was one day sitting with the brethren listening to a holy lesson when a lion came hobbling painfully into the monastery. The brethren fled, but S. Jerome, like Androcles, approached the beast, and finding that it had a sore foot, commanded the others to return and minister to it. This they did, and the lion was ever attached to the monastery, one of its duties being to take care of an ass. Carpaccio has not spared the monks: he makes their terror utterly absurd in the presence of so puzzled and gentle a man-eater. In the next picture, the death of the saint, we see the lion again, asleep on the right, and the donkey quietly grazing at the back. As an impressive picture of the death of a good man it can hardly be called successful; but how could it be, coming immediately after the comic Jerome whom we have just seen? Carpaccio's mischief was a little too much for him--look at the pince-nez of the monk on the right reading the service. Then we have S. Jerome many years younger, busy at his desk. He is just thinking of a word when (the camera, I almost said) when Carpaccio caught him. His tiny dog gazes at him with fascination. Not bad surroundings for a saint, are they? A comfortable study, with a more private study leading from it; books; scientific instruments; music; works of art (note the little pagan bronze on the shelf); and an exceedingly amusing dog. I reproduce the picture opposite page 82.