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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

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