This chapter charts the cultural progress of le lévrier into the modern era. The initial focus is on ‘Colette’ (1873–1954), a celebrated animal lover. Colette discovered the pathos of the breed in the harsh world of the music-hall when she identified as a fellow performer with a dog named Lola. Later on, she again encountered lévriers when she visited a fashionable racetrack outside Paris. In a little-known essay she records her profound ambivalence in the face of a display of extraordinary physical ability coupled with clear evidence of an intense interior life. The ability of dogs to offer a mirror of the human condition is equally the import of a bronze statue by Alberto Giacometti from 1951, which is sometimes known simply as ‘Le Chien’, sometimes as ‘Un Lévrier’, but was possibly inspired by a saluki. For Giacometti himself the work may have served as a form of self-portrait; for the playwright Jean Genet it epitomised the autonomy of art. Salukis, like ‘sloughis’, were long thought to be closely related to the European greyhound although they were also said by European colonialist travellers to typify a uniquely North African or Middle Eastern sensibility—as expressed in a slim volume, Les Lévriers (1909), by the Algerian poet Léo Loups. Today, by contrast, the primary European imperative is to prevent hunting dogs from being disposed of at the end of their professional career.