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FEW FACES TO MEET the public spotlight in recent years have more to tell about the mental mechanisms of male shame, impunity, and self-absolution than that of the furry brown-and-white-spotted Spanish pointer staring out of Titian’s Diana and Callisto, 1556–59. This dog has been a bad dog, as he seems to know. (I say “he” since, according to the visual logic of gender organizing the suite of pictures of which Diana and Callisto forms one-sixth, Titian’s “big dog” simply can’t be a bitch.)1 Sometime previously, on a hunting trip that took an unexpected twist, this Spanish pointer turned against

New yorkUnited statesUnited kingdomColumbia universityNew mexicoCity ofIsabella stewart gardner museumLas casasComunidad autonoma de aragonNew zealand generalNew zealandLanguedoc roussillonNew yorkerRubens jupiterRoger kimballLelia packer