The Story of Tobias by Moses van Uyttenbroeck
—What does a dog know?
—Ask Nimrod. He knew that Rafayel was not people, by his smell. No oniony armpits, only celestial electricity, rich in ozone. Thorvaldsen, now, would have taken Rafayel to be a higher rank of bishop, and from Sweden. He would have stropped his leg. He would have sat across from him on an episcopal cushion, pretending to be of equal rank among ecclesiastical cats.
(from “Badger,” as printed in The Drummer of the Eleventh North Devonshire Fusiliers by Guy Davenport)
Tobias and the Angel is not one of Leonardo’s works, but Andrea del Verrocchio’s. What gives it merit is, like The Baptism of Christ, it was most certainly added to by Leonardo during his apprenticeship. In particular, pay attention to the dog in the left hand corner. The detail of the animal’s hair, as well as the intricate curls of Tobias’ hair, points directly to Leonardo’s style. If you examine some of his own notes, you can often see him studying hair in such a manner. This painting was a popular scene at the time of Leonardo’s youth, though he never painted one himself. It is also speculated that Leonardo was the model for Raphael, the Archangel.