§ 14. And first of the animals which have had more influence over the human soul, in its modern life, than ever Apis or the crocodile had over Egyptian--the dog and horse. I stated, in speaking of Venetian religion, that the Venetians always introduced the dog as a contrast to the high aspects of humanity. They do this, not because they consider him the basest of animals, but the highest--the connecting link between men and animals; in whom the lower forms of really human feeling may be best exemplified, such as conceit, gluttony, indolence, petulance. But they saw the noble qualities of the dog, too;--all his patience, love, and faithfulness; therefore Veronese, hard as he is often on lap-dogs, has painted one great heroic poem on the dog. § 15. Two mighty brindled mastiffs, and beyond them, darkness. You scarcely see them at first, against the gloomy green. No other sky for them--poor things. They are gray themselves, spotted with black all over; their multitudinous doggish vices may not be washed out of them,--are in grain of nature. Strong thewed and sinewed, however,--no blame on them as far as bodily strength may reach; their heads coal-black, with drooping ears and fierce eyes, bloodshot a little. Wildest of beasts perhaps they would have been, by nature. But between them stands the spirit of their human Love, dove-winged and beautiful, the resistless Greek boy, golden-quivered; his glowing breast and limbs the only light upon the sky,--purple and pure. He has cast his chain about the dogs' necks, and holds it in his strong right hand, leaning proudly a little back from them. They will never break loose. § 16. This is Veronese's highest, or spiritual view of the dog's nature. He can only give this when looking at the creature alone. When he sees it in company with men, he subdues it, like an inferior light in presence of the sky; and generally then gives it a merely brutal nature, not insisting even on its affection. It is thus used in the Marriage in Cana to symbolize gluttony. That great picture I have not yet had time to examine in all its bearings of thought; but the chief purpose of it is, I believe, to express the pomp and pleasure of the world, pursued without thought of the presence of Christ; therefore the Fool with the bells is put in the centre, immediately underneath the Christ; and in front are the couple of dogs in leash, one gnawing a bone. A cat lying on her back scratches at one of the vases which hold the wine of the miracle.