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Contents.

Page
Paolo Caliari, called Wroncx-. \\\ Mrs. AKrHlk l>i;i.L .... \ii.
List of tliL' i'rliicipal Works attriljuted to I'aolo X'c-ronese .... xix.

J

List of Illustrations.

The .Annunciation Fmntispiccc

The Wedding Feast at Cana ......... i

The Disciples at Enimaus .......... 2

The X'irgin and Child, with Saint Callierine, .Saint ( "leorgc and the Donor

The Adoration of the Magi .......... 4

The Family of Darius at the feet of Alexander ...... 5

The Magdalen laying aside her Jewels ........ 6

The Vision of Saint Helena ......... 7

Portrait of Daniele liarljaro .......... 8

Esther before Ahasuerus .......... 9

The Crucifixion ............ 10

Christ in the House of Simon the Pharisee ...... 11

Saint Anthon)-, Saint Cornelius, and Saint Cyprian . . . . . 12

St. Mcnna ............. 13

Saint Jerome in the Desert .......... 14

The Queen of .Sheba Ijcfore Solomon ........ 15

The Queen of Shel)a before Solomon (Detail) ...... 16

The Adoration of the Magi .......... 17

The Triumph of \'enice ........... iS

The Triumph of \'enice (Detail) ......... 19

The Conquest of Smyrna .......... 20

The Rape of Kurojja ........... 21

Venice with allegorical figures of Justice and Peace ..... 22

Allegorical figure of Faith .......... 23

Neptune and Mars ............ 24

Adam and Eve ............ 25

The People of Myra going to meet .Saint Nicholas ...... 26

The Feast in the House of Le\"i ......... 27

The Hol\" Famil\- with four Saints ......... 28

MS'l" OK Il.l.lSl'RAI'IONS Coiitiniu;1.

Page

\'enicc enthroned, uitli Hercules and Ceres 29

The Marl) rdom of Saint Christina ......... 30

Saint Christina fed by Angels ......... 31

I'lie F'hvgeUalion of Saint Christina ...... . . 32

I lie Annimciation ........... 3-5

The Battle of Lepanto ........... 34

The Crucifixion ............ 35

.Saint Luke and .Saint |ohn .......... 36

The X'irgin in Glory with Saint Dominic 37

Saint Matthew and Saint Mark 38

The Resurrection ........... 39

The Marriage of Saint Catherine ......... 40

The X'irgin in (llory with .Saints ......... 41

Saint Sebastian encouraging Saint Marcus and Saint Marcellinus to die . 42

The Martyrdom of Saint Sebastian 43

The Purification of the Virgin .... ..... 44

The Triumph of Mordecai .......... 45

The Ba])tism of Christ ........... 46

Portrait of Pacio (kiaricnti .......... 47

The Martyrdom of Saint Ceorge . . . ■ . . . . . . 48

The Feast of Saint Oegory 40

The Feast of Saint Gregory (Detail) 50

Minerva and Mars

The .Xdoration of the Magi •-........

The Marriage at Cana .......... 53

Christ bearing the Cross •■••...... 54

The Cuccina Family ])iesented to the \'irgin 55

The Crucifixion •■•••....... c6

Susannah and the Elders .......... 1:7

The l''inding of Moses ........... cS

<^""P'tl 59

Christ and the Centuiion of Capernium ........ 60

Venus and Adonis •••■....... 61

Susannah and the Klders ••••...... 6'>

The -Magdalen •••......... 6''

Jesus disputing with the Doctors ■-....... 64

3

3-

PAOLO VERONESE

BY MRS. ARTHUR BELL

HE last of the great group of Venetian painters,
who, less hampered than were the masters of
Upper Italy by accidental conditions, reflected in
their work the splendour of the golden age of the
great Republic, Paolo Veronese rivalled even
Titian in the grandeur of his individual forms,
and Tintoretto in the magnificence of his com-
positions. In his work were gathered up, as it were, all the manifold
qualities which gave to the Venetian School its pre-eminence, as an
interpreter of the sensual and emotional, rather than the intellectual
or ascetic side of human nature, and his decorative pictures will ever
remain among the most admirable illustrations that have been pre-
served of aristocratic Italian society in the middle of the i6th centurv.
The suggestion of the all too imminent decline alike in the art and in
the political ascendency of the proud Queen of the Adriatic, inherent
in the very lavishness of the display depicted in Paolo's colossal
productions, does but give to them that alluring touch of pathos,
which is a chief element of attraction in the glories of the setting sun
or of the dying year.

Paolo worshipped beaut}^ for its own sake only, and was
thoroughly in touch with it in its every manifestation. His imagin-
ation was, it has been somewhat carpingl\^ said, neither exalted nor
profound ; but even if this be true, he was undoubtedly able to
reproduce what he saw with a truthfulness and skill rarely, if ever,
surpassed. To interpret faithfully the relations and mutual effect of
the various figures and objects brought together in one scene; to

PAOLO VERONESE

translate successfully ever}' subtle effect of light on an infinite variety
of surface, and gradation of colour ; to immortalize the lovel}' u'omen
and noble-looking men with whom he was brought into contact, and
to transmute into one harmonious whole, in which there was never
an}- confusion, all the scattered and conflicting elements of charm in
the great banqueting scenes, at which he himself often assisted, were
the chief aims of the Master, and that he fully realized them not even
the most grudging critic can den3\

Paolo Veronese had formed his own idea of what the jo^^s of
paradise should be, and it would be difficult to imagine anything
more entirely different from that of the earlier Italian masters.
There is nothing painful or tragic even in his scenes of mart3Tdom,
his saints were allowed to reap in this world the rewards of their
holiness, and it is related that on one of his drawings, now un-
fortunately lost, he had scribbled his intention, if he were ever to get
time, to paint 3'et another sumptuous repast in a grand gallery, at
which the blessed Virgin, her divine Son, and St. Joseph should be
waited on by the richest group of angels the imagination of man
could conceive, who shall offer them on plates of silver and gold
the most exquisite viands and fruit. Others shall be occupied in
presenting to them costl}- beverages to show the eager devotion with
which the happy spirits serve the Lord.

In accordance with the fashion of his time, Paolo gave to man}-
of his paintings scriptural titles, but he certainly' never allowed him-
self to be troubled wnth the spiritual significance of the incidents, the
names of wdiich he borrowed. There is nothing divine in his
Madonnas, and though his Infant Christ's are always lovely, they are
thoroughly human children. It is in their colouring and grouping
that the charm of his religious paintings consist, they delight the eye
but they do not touch the heart. Even such subjects as the
Deposition and the Entombment are treated in a thoroughly secular
manner, the}' appeal less to the sympathies of the believer than to
the critical sensibilities of the artist, and for this reason, unlike the
work of such devout masters as Era Angelico and Era Bartolommeo,
they are as thoroughly in place in a public galler}' as in the
churches or monasteries for which they were originally intended.

The family name of Paolo Veronese was Caliari or Cagliari, and
he was born at Verona, according to some authorities, in 1528, whilst
others place the date as late as 1532. The son of a sculptor of some
little note, he was at first intended to follow his father's profession,

viii

PAOLO VERONESE

bul |)lastic art, with its rigid limitations, did not appeal to his
imagination, anfl hv early resoh-cd to become a painter. He is said
to have studied for a short time with his uncle Antonio Badile, now
ahnost forgotten, but whose "Raising of Lazarus" in the Verona
Gallerv has something of the grandeiu" of style and richness of
colouring characteristic of the work of his great pupil. Eortunateh^
for Paolo, whose exceptional gifts do not appear to have been at first
recognised by his fellow citizens, he early attracted the attention of
the art-lo\'ing Ercole Gonzaga, who chose him with three others to
go with him to Mantua, where the artist took part in a competition
for the best interpretation of the well-worn theme of the Temptation
of St Anthony the Hermit. In this he was successful, and his
painting, that has now unfortunately disappeared, was long one of
the olories of the Cathedral of Mantua.

Back again at Verona. Caliari found that instead of having
improved his position h\ this brilliant success, he had but aroused
the jealousy of his brother artists, and after a short residence in his
native town, during which he painted several pictures, now in the
public gallerv there, he decided to seek elsewhere the recognition
denied him, where he might have supposed it would have been most
readilv accorded. Selecting as his companion a young artist named
Giovaimi Battista Earinata, to whom he had become greatly attached
in the studio of Badile, he went tcj Castelfranco, where he w^as
fortunate enough to secure at once commissions to decorate w^ith
frescoes the V^illas Soranzo and Eanzola. Aided by Zelotti, he achieved
both tasks with great (r/<if, and further work of a similar class, of
which unfortunately little now remains, was entrusted to him. In
the church of S. Liberale, however, are four fine allegorical figures
of justice. Temperance, Time, and Eame, supposed to have been
produced about the same period of the artist's career.

Before Caliari left Verona it seems probable that he had alread}'
fallen in love with his future wife, the daughter of his master there
and his own first cousin, but the date of his marriage is quite un-
known, and as his eldest son Gabriele was not born until i ;68, it
would appear that he did not take home his bride until he was a
middle-aged man.

Had the correspondence between the betrothed couple been
preserved, how vivid a light it might have thrown upon contemporarv
historv, for from the age of thirty Paolo moved in the best society- of
his time and must have been intimately acquainted with the leading

ix.

PAOLO VERONESE

politicians,as well as the chief artists of his native land. Unfortunately
none of his many biographers has an3^thing to tell of his home life,
for they all content themselves with stating that he went to Venice,
or was summoned there, in 1655, when Titian and Tintoretto were at
the very zenith of their fame.

As was inevitable, the impressionable Caliari at once succumbed
to the influence of these two mighty spirits, with whom he was so
thoroughl}^ akin in his love of the sensuous side of art and his
appreciation of the distinctive characteristics of the great Venetian
School founded by the Bellini. He quickly shook off' all the traditions
which had hitherto to some extent affected his style, resolving to
follow in the footsteps of the two great leaders, aye, even if possible
to emulate their triumphs.

Ever generous in his recognition of his young contemporaries,
Titian, who was already in his seventy-eighth year, accorded a hearty
welcome to the young artist from Verona, and it was possibly due to
his influence that Paolo was chosen soon after his arrival at Venice to
decorate the sacristy of S. Sebastiano, a task he achieved with such
brilliant success that he was at once asked to undertake a series of
frescoes for the church itself The subjects he chose for the latter
were three scenes from the life of Esther, namely, the Jewish maiden
going forth to plead with Ahasuerus, the crowning of Esther by the
Persian king, and the triumph of Mordecai, which when completed
placed their autliof in the very highest rank as an exponent of the
then popular art of fresco painting. Though greatly injured the}^
fortunately still retain much of their original beauty.

Soon after the completion of this great task, the Prior of
S. Sebastiano commissioned the artist to paint an altar piece for the
same church of the Blessed Virgin in Glory, attended by a group of
saints, amongst whom were Saints John the Baptist, Peter, Francis
of Assisi, and Catherine, a work which is still /// sif//, and is considered
one of its author's masterpieces. PVom about the same time date
the smaller compositions on the panels of the organ ; the Purification,
the Adoration of the Shepherds, and the Pool of Bethesda, all in
excellent preservation, with several other frescoes on the walls near
by, which are unfortunately scarcely decipherable.

The position of Caliari was now fully assured, and he was over-
whelmed with commissions to decorate the houses of the great nobles
of Venice and other cities of Northern Italy. In the Tiene Villa
near Vicenza, he painted a series of historical subjects treated in a

PAOLO X'ERONESE

bold and dramatic niaiiiuT, including, the interview between the
Etruscan King Porscnna and his would-be murderer Mucius, surnamerl
Scaevola, or the left-handed, he having in his enthusiasm for the
generous forgiveness of his enemy, burnt his right hand off, lest it
should ever again offend ; Xerxes receiving tribute, and Sophonisba
and Masinissa in the early days of their marriage, before the
bride was compelled to drink the poison which j)ut an vnd to her
chequered career.

Not long after the completion of these remarkable frescoes, the
singular honour was conferred on Paolo Veronese of being chosen
by Titian as one of the artists to decorate the Sala del Maggior
Consiglio, or Hall of the Great Council, in the Palace of the Doges,
then just completed by Sansovino. Here again the Veronese master
excelled all his fellow workers, except perhaps Tintoretto, whose
"Paradiso,"in spite of its melancholy state of decay, still rivals even the
"Apotheosis of Venice " of Caliari, in which that master may be said
to have struck the keynote of the grand compositions, that were
later to spread his fame throughout the world. In it the lovely
woman who represents the Queen of the Adriatic is seated on a
throne in the midst of her attendant maidens, whilst below are
groups of beautiful women in the ornate costumes of the day, all
alike radiant with health and happiness, breathing forth the very
spirit of their luxury-loving age.

In addition to this large composition on the ceiling, Paolo
Veronese also contributed to the decoration of the Hall three
medallions with allegorical figures of Fame, Music and Mathematics,
which won him the reward from the Senate of a golden chain ; two
small ceiling paintings representing the Siege of Scutari in 1474, and
the taking of Smyrna by the Turks in 147 1, whilst between two ot
the windows at one end of the Hall is yet another composition from
his hand : The Return to Venice of Doge Contarini in 1379 after the
victory of Chioggia. Apropos of this last w^ork the story is told that
the artist being short of money when engaged on it, started for
Verona to paint a pot-boiler in the form of a fresco in a church there,
but he was overtaken by messengers of the Doge and compelled to
return to Venice and finish his painting in the Council Hall.

According to some authorities Paolo Veronese went to Rome soon
after the completion of his work in the Doge's Palace, whilst others
place his journey considerably later, and some few deny that he was
ever in the Eternal City. Whatever may be the truth, there is no

xi.

PAOLO VERONESE

doubt that in his later compositions he showed a certain affinity with
the great masters who had aided in making Rome the capital of the
art, as it had long been of the political and religious world. Indeed,
although he remained to the end faithful to his allegiance to the
Venetian School, there is in certain of his work a reminiscence as it
were of the delicate beautN'of form of Raphael, the sublime grandeur
of grouping of Michael Angelo.

It was in 1562 that Paolo Veronese was commissioned to paint
for the refectory of the Convent of S. Georgio Maggiore at Venice,
the first of the great compositions on which his reputation chiefly
rests. The subject chosen for this world famous work, which was
carried off to Paris by Napoleon in 1796, and is now one of the
greatest treasures of the Louvre, was the Marriage at Cana, and in
it the artist saw his opportunity for the lavish display that was the
delight of his heart. Though it is 32 feet long by 22 feet high
and contains more than 100 figures, it was painted in a little over a
year, for the agreement was signed in August, 1562, and the completed
picture delivered in September, 1563, the master receiving for it 324
silver ducats (about £\.6o) and his keep for the time it occupied.

1 he banquet is represented as being held in an open Cortile
flooded with light, crowds of spectators looking down upon the
brilliant scene from every point of vantage afforded b}' the sur-
rounding Renaissance buildings, whilst on the balcon}^ above the
tables the servants are hurr^nng to obe\' the host's orders to bring
more wine.

lo Paolo X'eronese there appeared nothing incongruous in
surrounding the chief Guest and his Mother — whose slightly indicated
halos alone distinguish them from the rest of the company — with
notable historical characters, amongst whom may be recognised
Queen Mary of England, whose happy smile belies her reputation
for ill temper; Francis 1. and his Oueen ; the Emperor Charles V.
and Victoria Colonna. More remarkable and more interesting than
any of these figures are, however, the excellent Portraits of the artist
himself, Tintoretto, Titian, and Giacomo da Ponte, who are intro-
duced as musicians at a round table in the foreground, with two dogs
chained together at their feet, the last detail supposed to be a satire
on the married state.

The "Marriage at Cana" was succeeded by the so-called " Feast
in the House of Levi," painted for the Convent of S.S. Giovanni e
Paolo, but now in the V'enice Academy, also a colossal composition

xii.

PAOl.O X'KKONKSK

in which, as in its predecessor, the chief incident is swallowed up in a
number of irrelevant details, such as the group of soldiers chatting-
together as they consume their share of the Feast. So entirely indeed
did this extraordinai-y interpretation of the Scriptural incident sin
against the verities, that the artist was summoned before the In-
quisition and charged with heresy, although as a matter of fact the
two chief points of his offending were the introduction of German
soldiers who were, of course, peculiarly obnoxious to Italians, and
the fact that he had so confused the three feasts described in the
New Testament as to make it impossible to tell which he had meant
to represent, lie himself spoke of it as the Lord's Last Supper, the
Cena Ultimo, by which he meant the last that Christ shared with
his host St. Matthew, and it was only after his trial that he dubbed
it the " Feast in the House of Levi" in order to make it seem that he
had not purposel}^ omitted the repentant sinner, but had painted a
scene in which she had had no part.

In some little trepidation, Paolo made his first appearance before
the Inquisition in the Chapel of S. Teodoro, where the sittings were
held, on July 8th, 1573, his friends and admirers fearing that his
brilliant career was about to be cut short, whilst he himself hoped he
would be able to convince his judges that he had no evil intentions
in what he had done. The account of the trial which has been
preserved is of supreme interest and significance, as showing that
after all there were occasions when the dreaded and hated Tribunal
admitted extenuating circumstances, and also accentuating the tact
that the Inquisition never acquired in Venice the terrible power it
exercised elsewhere. Its proceedings were alwa\'s jealously watched
by members of the Senate, who would not have permitted an}' unfair
interference with the liberties of those under the protection ot
the State.

In the present instance the examiners showed a very true appre-
ciation of the questions at issue, and the prisoner was as wax in
their hands, betraying all his weaknesses, and setting up a defence
so feeble, that but for the natural unwillingness to condemn a man
who had brought so much glor}^ on his adopted city, his escape is
little short of marvellous.

Having answered to his name and declared his profession to be
that of a painter, the accused was asked if he could guess why he
had been summoned, and he replied that he supposed "it was
because the Re\-erend Prior of S.S. Giovanni e Paolo had been told

xiii.

PAOLO VERONESE

tliat he, Paolo, must substitute the figure of the Magdalene for that
of a dog, and he added with great naivete that he would willingly do
so. but that he did not think that figure would be fitting or would look
w^ell." He pleaded further that he had "introduced" irrelevant figures
for ornament as was usually done, "adding that it seemed to him
fitting that the master of such a house as that of our Lord's host, who
he had been told was rich and great, should have such attendants."

When the stern question came : " Does it then appear fitting to
you that at our Lord's Supper you should paint buffoons, drunkards,
Germans, dwarfs, and similar indecencies?" Paolo at once scented
danger, and replied in trembling tones, that he knew what he had
done was bad, but he thought he ought to follow the example of his
predecessors, and he actually ventured to quote Michael Angelo's
" Last Judgment " as a parallel case.

Swift and crushing was the reply of the Inquisitor : " Do you
not then know that in such a painting as that in the Pope's Chapel at
Rome drapery is not expected, disembodied spirits onlv- being seen,
and dare you compare them with your buffoons, dogs . . . and other
absurdities . . . ? Can it be proved right or even decent that you
should have painted your picture in such a manner?"

Meekly Paolo bowed his head to the storm, declaring that he
could not defend his conduct ; he had not considered all the things
now so forcibly brought before him ; but it was significant that he
made no promise of amendment. Great indeed must have been his sur-
prise when he was told that he was free to go whither he would, all
that w^as required of him being that he should paint out the offending
dog, putting the Magdalene in its place, and remove the German
soldiers. A rider to this verdict was added in the form of a threat
that if the changes were not made in three months' time certain
severe penalties w^ould be inflicted. For all that, however, the dog-
is still in his place, the Magdalene is still conspicuous by her
absence, and the German soldiers still chat peacefully together.
Caliari returned happily to his work, the only result of the trial
being a considerable increase in his popularity and in the number of
commissions entrusted to him.

Slightly modified replicas of the picture which caused so great a
stir when it was first painted, are in the Dresden Gallery, the
Durazzo Palace at Genoa, and the Brera Gallery, Milan. The
Louvre owns two other grand compositions ot a similar kind : "The
Feast in the House of Simon the Pharisee " and the " Supper at

xiv.

PAOLO VERONESE

Eniii'.aus," llie tornicr raiikinjj;- m the opinicjii ol the best critics
second only in grandeur and beauty to the "Marriage at Cana,"
whilst the latter, though interesting as containing portraits of the
artist, his wife, and his two little girls, can scarcel}^ be compared
with the othei" work of the master. It may, indeed, possibly' haye
been executed b^' one of his pupils under his suryeillance. The
meeting between the risen Lord and His sorrowing friends was,
howeyer, a fayourite subject with Caliari, and there are seyeral other
examples of it attributed to him in Continental galleries.

It seems to haye been in intervals between the production uf the
yarious "Leasts" for conyents, that Paolo Veronese painted the later
of the famous frescoes in S. Sebastiano, representing three scenes
from the legend of the titular saint, which are full of dramatic
expression, and haye, perhaps, about them more real religious feeling
than anything else from his hand. In one St. Sebastian is seen with
his fellow sufferers, Marcus and Marcellinus behind him, on his wa^-
to the first abortiye attempt at his martyrdom — for he did not die of
the w^ounds inflicted by the arrows, but liyed to be beaten to death
some months later — w'hilst crowds gather about the yictims hoping
for a blessing from them, or look dovyn on the tragedy from the
buildings lining the route. In another, the young martyr, pierced
vyith arrows, lies bound to the rack, and in the third he is tied to a
column, with several noble-looking women kneeling near him, whilst
above his head appears the Blessed Virgin attended b}^ angels

Another yer^' beautiful composition of a religious character is
the " Vision of St. Helena," which, after many yicissitudes, has found
an honoured resting-place in the National Galler\', London, and is
justly considered one of its author's most successful smaller
paintings, ranking with the "Cain and his Lamil}'" of the Prado
Gallery, Madrid, in which the expression of the wnfe of the murderer
is especially beautiful.

The fact that the motif of the "\'ision of St. Helena" is not
entirely original, the general grouping having been anticipated b}' a
pupil of Marc Antonio Raimondi, who in his turn is said to haye
borrow^ed it from a painting by Raphael, does not detract from the
value of the work, in which Caliari has imbued a simple theme with
a force of spiritual expression rare, indeed, in his work.

The Mother of the first Christian Emperor is in a state rather of
suspended animation than of natural sleep, and the spectator cannot
fail to feel that she is realizing forcibly all that the vision implies :

XV.

PAOLO VERONESE

the solution of a problem that has long troubled the followers of her
beloved Lord. The yearning to know the very form of the Instru-
ment of the Passion of Christ had become intense, and fierce
contentions on the subject often troubled the peace of the Church.
The story goes that it was not only the shape of the Cross which
the lovely child angels are bringing to St. Helena, that was revealed
to her, but also the very spot on Calvary where the sacred relic was
buried. The Empress lost no time in acting on the knowledge
vouchsafed to her, with the result that she found the true Cross and
set at rest for ever the controversy- concerning it.

It is not necessar}' to describe in detail the various interpreta-
tions by Paolo Veronese of the Holy Eamil}- or of the Saints
reverenced by the Church. They are all alike in their persistent
ignoring of suffering, their naive anachronisms, and their sensuous
beauty. They were painted probably more for the sake of the mone}'
they brought in than with any real enthusiasm, and it must have been
a ereat relief for the master to turn from them to execute such a
commission as that for the decoration of the Masiera Villa, near Venice,
built by Palladio for the wealthy ])atricians Marc Antonio and Daniele
Barbaro. Free to cull his subjects where he would, Paolo turned to
the sensuous delights of the heathen Ol3'mpus and quickly covered
the walls with gods and goddesses revelling in irresponsible abandon-
ment, in the mere delight of living and of loving, the charm of the
compositions and the beauty of their colouring taking b}' storm the
hearts of all who were privileged to see them when they were first
completed.

Yet another very celebrated work by Caliari is the "Family of
Darius at the feet of Alexander after the Battle of Issus," originally
painted for the Pisani family and long preserved in their palace at
Venice, but bought by the British Government in 1^75 for the large
sum of ^^13,560, an expenditure that roused the ire of Lord Elcho,
who, in the course of a debate in Parliament, declared it to be
excessive. In this opinion many agreed, but Ruskin, who was then
at the height of his reputation as a critic, defended the purchase in an
eloquent letter to the " Times," in which he said : " When I last saw
it, it was simply the best Veronese in Italy — if not in Europe — (the
" Marriage at Cana" of the Louvre is larger and more magnificent,
but not so perfect in finish), and for my own part I should think no
price too high for it; but putting my own deep reverence for the
painter wholly out of the question, and considering the matter as it

x\i

PAOLO VERONESE

will appear to most persons at all acquaintrd with the real character
and range of Venetian work, 1 believe the market value (jf the picture
ought to be estimated at, perhaps, one-third more than the Govern-
ment have paid for it." Elsewhere the celebrated connoisseur
alluded to the same painting as "the most precious Paolo Veronese
in the world, so far as the completeness of the picture goes."

Whether this enthusiastic eulogium be fully endorsed or not,
there is no doubt that the composition in question is a unique
example of the Venetian master's work, and the fact that it has
suffered comparatively little from restoraticjn adds very greatly to its
value. The story goes that it w'as painted by Caliari as a token of
his gratitude for the hospitality he had received from the Pisani
family, and that he was never paid anything foi- it, which, even if onl}-
partially true, is an incidental proof of the low money value at the
time of their production, of masterpieces now of priceless value.

The painter has chosen for representation the moment when after
the defeat and flight of Darius III. the doomed King of the Persians,
who was murdered tw^o years later by one of his own officers, the
wife and daughters of the unfortunate monarch were brought before
the victorious Emperor, beside whom stood his friend Hephaestion,
who had been brought up with him. Mistaking Hephaestion for the
conqueror the Queen began to plead her cause with him, but Alexander
himself replied bidding her be comforted, and adding the oft-
quoted words, " Hephaestion is another Alexander." Later, as is well-
known, the elder of the two princesses, Statira, who kneels near her
mother, became the wife of the Emperor, but after a few years of
happiness she was murdered at the instigation of her rival, Roscana.
another Persian captive.

The principal figures in the dramatic scene are portraits of the
Pisani family, and the costumes worn are those that were in fashion
in Venice in the i6th century. Even the architecture is that rather
of the Renaissance than of the Classic period, and the minor details,
such as the pet monkey on the wall, are just what would have been
appropriate outside the palace of a Venetian patrician, for Paolo
\>ronese was in touch with but one age, his own. and to him in his
lifetime would surely have been appropriate the now hackneyed
phrase, "a modern of the moderns."

The "Rape of Europa," now in the Imperial Gallery at X'ienna,
of which there is a slightly modified replica in the Doge's Palace at
Venice and a ver}* fine study in the National Gallery, London, is

xvii.

PAOLO VERONESE

another classic subject treated in a thoroughly Renaissance manner,
the lady who represents the Phoenician princess and her attendant
maidens being all of a thoroughly Venetian type of beauty.

A similar anachronism is noticeable in the frescoes of the Villa
Fanzolo at Castelfranco, representing various classical subjects,
including the crime and punishment of Callisto, the nymph, who
when attending Diana in the chase is said to have attracted the notice
of Jupiter, who changed her into a bear, lest she should arouse the
jealousy of Juno, but who fell a victim to the spear of her beloved
mistress, Diana. Even in his treatment of historical subjects, the
environment of which he could easily have studied, such as the "Visit
of the Queen of Sheba to King Solomon," now in the Turin Gallery,
and the various scenes from the life of Esther in S. Sebastiano,
Venice, the Uffizzi Gallery, Florence, and elsewhere, Veronese
remained ever true to his own age. One and all his characters are
X'enetian and the setting of his scenes Italian.

The few portraits by Caliari which have been preserved prove
iiim to have been a very true interpreter of human nature. They all
impress the spectator with a strong sense of individuality, although,
of course, they cannot be compared with those of the Bellini or of
Titian, still less with those of Moroni. Perhaps the finest are that of
Daniele Barbaro in the Pitti Gallery, Florence ; of Alessandro Alberti
and his son in the Palazzo Torrigiano, at Florence; of Pacio Guarienti
in the V^erona Gallery, and of an unknown man and woman, the former
in the Doria, the latter in the Colonna Palace, Rome. The Pitti
Gallery also owns two charming little panels, one of a young girl, the
other of a boy, which are both full of the seductive charm of child-
hood, and the painting of which was evidently a labour of love to
the Master.

Paolo Veronese died at Venice in 1588, having to the last resisted
all attempts to draw him away for any length of time from his adopted
city, even refusing it is said an invitation from King Philip II. of
Spain to aid in the decoration of the Royal Palace and Mausoleum,
known as the Escorial, then in process of construction to commemorate
the great victory of St. Quentin, in which the Spanish had defeated
the French in 1557.

The lamous Italian Master was buried with great pomp and
ceremony in S. Sebastiano, in the midst of the masterpieces of his
prime, which fortunately still remain to keep his memory green in
the city that has, alas ! lost so many of her most precious treasures.

xviii.

PAOLO VERONESE

He left behind him two sons, Gabriele and Carletto, who with many
enthusiastic pupils, to whom the proud title of the " heirs of Veronese "
was given by their contemporaries, loyally endeavoured to carry on
the great traditions inaugurated by their father and teacher. Not
one of them, however, had inherited a spark of the genius which gave
value to everything from the hand of Paolo, after whose death the
Venetian school rapidly declined, Jacopo da Ponte, surnamed II
Bassano, who survived Tintoretto for two years, having been the
only painter who for a short time kept alive the old traditions.

sr^rs

XIX.

A LIST OF THE PRINCIPAL WORKS
ATTRIBUTED TO PAOLO VERONESE

AUSTRIA Vienna

PlNAKOTHEK

SUSANNAH AND THE ELDERS

HAGAR AND ISHMAEL

THE CENTURION OF CAPERNAUM

THE ANNUNCIATION

THE ADORATION OF THE MAGI

BELGIUM Brussels

MUSEE DE VeINTURE

THE HOLY FAMILY WITH SAINTS THERESA AND CATHERINE
ADORATION OF THE MAGI
JUNO WITH VENETIA

FRANCE Bordeaux

MusEE DES Beaux Arts

the holy family

adoration of the magi

the woman taken in adultery

Caen

MuSEE

JUDITH

FLIGHT INTO EGYPT

TEMPTATION OF SAINT ANTHONY

CHRIST GIVING THE KEYS OF HEAVEN TO SAINT PETER

MuSEE CONDE

mars and venus

Hotel de Ville

the finding of moses

MuSEE

Chantilly

DiJON

Grenoble

NOLI ME TANGERE

lESUS healing the WOMAN WITH AX ISSUE OF liLOOD

PAOLO VKRONESE

Lille
Palais des Beaux Arts

martyrdom of saint george

allegorical figures of science and eloquence

Lyons

MUSEE

adoration of the magi
the finding of moses
bathsheba at the bath

susannah

Marseilles
MusEE des Beaux Arts

portrait of a VENETIAN WOMAN

MONTAUBAN
MuSEE

MADONNA AND CHILD
HEAD OF A WOMAN

MONTPELLIER

MuSEE

the marriage of saint catherine
the virgin and child in glory
saint francis receiving the stigmata

Nantes

MuSEE

portrait of a princess

Narbonne

MuSEE

madonna and child with the donor and saints

Paris
Louvre

the firk of sodom

CALVARY

THE HOLY FAMILY

SUSANNAH AND THE ELDERS

ESTHER AND AHASUERUS

THE WEDDING FEAST AT CANA

THE FEAST IN THE HOUSE OF SIMON THE PHARISEE

THE DISCIPLES AT EMMAUS

Nxii.

PAOLO \m:ronesk

saint mark crowning ti i k thf.olo(;ic al \1rtues

portraits of a woman and hf.r son

\mrc.in and child, willi saints ca'iiifrinf and ckorge, and

the donor
christ bearin(; the cross
jupiter striking crime with his tl ilndfri^.oi.t

Rennes

MUSEE

perseus delivering andromeda

Rouen

MuSEE

SAINT BARNABAS HEALING THE SICK
A VISION

GREAT BRITAIN-En(;land

London
National Gallery

the family of darius at the feet of alexander after the

battle of issus
the consecration of saint nicholas, bishop of myra
the rape of europa
the adoration of the magi
the magdalen laying aside her jewels
the vision of saint helena
four allegorical groups

dulwicii
Gallery

a cardinal giving benediction

Hampton Court
Palace

saint CATHERINE AT THE ALTAR

the annunciation
madonna and child
susannah and the elders

Oxford
Christ Church

the marriage of saint catherine

xxiii.

PAOLO vp:ronese

Cambridge
FiTzwiLLiAM Museum

mercury and aglauros

Private Collections
Duke oe Devonshire

adoration of the magi

Duke of Sutherland

christ with the disciples at emmaus
a man on his knees, with patron saint

Duke of Westminster

christ at a feast
the annunciation
the holy family

Earl of Ellesmere

venus bewailing the death of adonis
the judgment of solomon

Lord Ashburton

christ on the mount of olives

Lord Methuen

JUDITH and holofernes (six subjects)

Sir W. j. Farrer

THE BAPTISM OF CHRIST
SUSANNAH AND THE ELDERS
PRESENTATION IN THE TEMPLE
VENUS AT HER TOILET

C. j. Wertheimer, Esq.

THE rape of EUROPA

H. MuNRo, Esq.

VENUS SEATED

LEDA WITH THE SWAN

SCOTLAND Edinburgh

Royal Institution

VENUS and adonis
MARS AND VENUS

PAOLO vf:ronese

ITALY Bari

Cathkdral

saint catherine

Bassano

PlNACOTECA

THE TOILET OF CLEOPATRA
MADONNA AND CHILD

PlNACOTECA

saint christina
meeting in a garden

Monte di Pieta

A PIETA

Bergamo

Bologna

Brescia

Church of S. Ap^ra

martyrdom of saint afra

This is above the north altar. Amongst the beheaded,
in the foreground, the head of the painter is introduced.

PlNACOTECA

the finding of moses
marriage of saint catherine

Castelfranco
Sacristy of the Cathedral of S. Liberale

allegorical figures of justice, temperance, time and fame,

\VITH SOME CUPIDS

Early works from the Villa Soranza.

Villa Fanzolo, near Castelfranco

fault and punishment of callisto
death of virginia

CERES

the rescue by scipio of the captive maiden lo
allegorical figures of justice, temperance, time and fame

Cremia (Como)
Parish Church

saint michael

PAOLO VERONP:Sfc:

PYORENCE

PiTTi Palazzo

PORTRAIT OF THE PAINTER's WIFE

portrait of daniele barbaro

saint benedict

the presentation in the temple

the baptism of christ

christ taking leave of the apostles

christ taking leave of his mother

portrait of a child

Uffizi Gallery

portrait of a man

saint catherine

the annunciation

the martyrdom of saint justina

esther before ahasuerus

holy family, with saints john, joseph, and catherine

crucifixion, with saints john and mary magdalene

the finding of moses

bust of a woman

portrait of the painter

Genoa
Palazzo Giorgio Doria
susannah

Palazzo Marcello Durazzo

marriage of saint CATHERINE

Latisana (Ul)INE)
Church

the baptism of christ

Lecce
San Pasquale

saint philip

THE ASCENSION

Brera Gallery

Lendinara (Rovigo)

Milan

SAINT GREGORY AND SAINT JEROME WITH ANGELS
SAINT AMBROSE AND SAINT AUGUSTINE WITH ANGELS

XXV] .

PAOLO X'KRONLSI-:

TllK IJAPTISM OF CHRIST

ADORATION OF TilF .M.\(.I

THE LAST SUPPER

CHRIST AT THE HOUSE OF SIMON THE PHARISEE

SAINTS ANTHONY, CORNELIUS, AND CYPRIAN

TllK PASSION OF CHRIST

MODENA
PiNACOTECA

saint menna

monopoli
Cathedral

VIRGIN and child with SAINTS

Montagnana
Cathedral

the TRANSFIGURATION. ALTARPIECE

Montebaroccio
Church of San Vito
madonna and child

MURANO

Church of San Pietro

saint jerome in the desert

Naples

PiNACOTECA

the circumcision

Villa Tiene

Frescoes : -

sc^evola before porsena

cleopatra

sophonisba and marsinissa

xerxes receiving tribute

Church of San Giustina

martyrdom of san giustina

Padua

PAOLO X'ERONESK

Parma

PlXACOTECA

tiik family of darius

Rimini
Church of San Giuliano

martyrdom of san giuliano

Rome

Vatican

vision of saint helena

Palazzo Corsini

the marriage of saint catherine

Palazzo Borghese

SAINT JOHN THE BAPTIST PREACHING IN THE DESERT
saint ANTHONY OF PADUA PREACHING TO THE FISHES

saints cosmas and damianus
venus and cupid with a satyr

Capitol

virgin and child with saints
allegorical figures of hope and peace
rape of europa
the magdalen

Palazzo Colonna

PORTRAIT OF A VENETIAN GENTLEMAN

Palazzo Torlonia

portrait of a venetian general

Palazzo Doria-Pamfili

portrait of lucretia borgia
an angel with a tambourine
the deposition from the cross

J REVISO
\'lLLA MaSIERA
THE MUSES

ALLEGORICAL FIGURES OF MUSIC, ETC.
VENUS WITH THE GRACES

XXVUl.

PAOLO VKRONKSE

THE (,ODS OF OLVMl'L'S

(.koljP of a lady and boys in a balcony
allegories

These frescoes were exccutcfl in 1566-68 for the V^enetian
patrician Marc Antonio Barbaro. They consist of mytho-
logical representations and scenes from social life. By the
entrance a girl and a page watch the guests entering
through a half-opened door. In the dining room are re-
presented Ceres attended by Cupids. Subjects on the
ceiling of the Great Hall are the Council of the Gods, and
the Feast of the Gods on Olympus.

Villa Magnadole

Frescoes : —

antony and cleopatra
the family of darius
the oath of hannibal
the founding of carthage
the triumph of caurillus
the triumph of coriolanus
cincinnatus at the plough
cincinnatus in battle

Turin

PiNACOTECA

THE QUEEN OF SHEBA BEFORE SOLOMON

THE FINDING OF MOSES

MARY MAGDALEN WASHING THE FEET OF CHRIST

DANAE

the feast in the house of simon

Venice
Palazzo Ducale

Ceiling of the Library: the adoration of the magi
In the Sala del Maggior Consiglio

return of the doge ANDREA CONTARINI AFTER THE VICTORY AT
CHIOGGIA OVER THE GENOESE (1378J

Ceiling: the triumph of venice

On the right: imetro mocenigo conouering Smyrna
IN 147 1

On the left : antonio loredano defending scutari

AGAINST MAHOMET II. IN I474

XXIX.

PAOLO VERONESE

In thk Sala dell' Anticollegio
the rape of euro pa

In the Sala del Collegio

christ in clorv, wttii saint justina, allegorical fkiures of

FAITH and VENICE, THE DOGE SEBASTIANO VENIERO, and THE
STATESMAN AGOSTINO BARBARIGO ; THE VENETIAN FLEET On

the wall opposite the entrance,

Painted in 1574 in commemoration of the Battle ot

Lepanto.

On the ceiling : Venice attended by neptune and mars, with

allegorical figures of justice and peace, faith,

moderation, industry, vigilance, abundance, fidelity,

sweetness, simplicity, fortune

Sala del Consiglio dei Dieci

Ceiling : age and youth

The original frescoes of jupitfr punishing vice and juno
GIVING treasure TO VENICE are : the former in the Louvre
and the latter in the Brussels Gallery.

Sala della Bussola

The frescoes on the ceiling are by Veronese, with the
exception of the central group : saint mark crowning the
theological virtues, which is a copy, the original being in
the Louvre.

Chiesetta

ADAM and eve

christ on the mount of olives

Academy

Frescoes on the ceiling : —
Room I. : the reception of saint Nicholas at myra
Room IV. : the assumption

Paolo Veronese was assisted in these works by his brother
Benedetto and his son Carletto. They came from the Con-
vent of San Giacomo della Giudecca, which also contained
a VISITATION and an annunciation by the same Master.

THE holy P'AMILY, WITH FOUR SAINTS
THE FEAST IN THE HOUSE OF LEVI
VENICE ENTHRONED
MARTYRDOM OF SAINT CHRISTINA

XXX.

PAOLO VERONESE

SAINT CHRISTINA FFD BY ANGKLS
SAINT CHRISTINA REFUSING TO WORSIIll' n)OLS
FLACFLLATION OF SAINT CHRISTINA
llli: \IR(ilN IN GLORY, WMTII SAINT DOMINIC
THF I^ATTLE OF LFPANTO
TIIF CRUCIFIXION
SAINT LUKF AND SAINT jUilN
CHARITY

the annunciation
saint mark and saint matthew
allegorical figure of faith
the coronation of thf virgin
the assumption

Church of San Luca

THE virgin, with SAINT LUKE

Church of San Giuliano

the dead christ, with saints
the last supper

Church of San Giuseppe di Castello
the adoration of the shepherds

Church of San Pietro di Castello

saints john the evangelist, peter, and paul

Church of San Francesco della Vigna

THE resurrection

the holy family, with two saints

Church of Santa Caterina

the marriage of saint catherine

Church of San Glacomo

allegorical figures of p^aith and charity, the doctors of
the church, saints lawrence, james, and nicholas

Church of San Sebastiano

THE crucifixion

THE virgin in GLORY, WITH SAINTS

SAINT SEBASTIAN ENCOURAGING SAINTS MARCUS AND MARCELLINUS

TO DIE
THE MARTYRDOM OF SAINT SEBASTIAN

xxxi.

PAOLO VERONESE

THE MADONNA AND CHILD, WITH SAINT CATHKRINF. AND PADRE

SPAVENTINI
THE BAPTISM OF CHRIST

On the organ : the purification of the virgin, the pool

OF BETHESDA

On the ceihng- : esther crowned by ahasuerus, triumph

OF MORDECAI, AHASUERUS MEFZTING ESTHER, CHILDREN
HOLDING GARLANDS OF FLOWERS

The gallery above the entrance : saint Sebastian before

DIOCLETIAN, MARTYRDOM OF SAINT SEBASTIAN, SAINT PETER,
AND SAINT PAUL

On the ceihng of the Sacristy : the coronation of the

VIRGIN, THE FOUR EVANGELISTS, and FOUR GROUPS OF
ANGELS

This church contains thcibust and tomb of the painter.

Church of San Pantaleone

san pantaleono raising a child from the dead

Church of II Redentore
the baptism of christ

Probably completed by the sons of the master.

Palazzo Reale

On a portion of the ceiling : — allegorical figures of
honour, science, music

Palazzo Manfrin

On the ceiling: jupiter and hebe

Verona
MUSEO Civico

the baptism of CHRIST

THE DESCENT FROM THE CROSS

THE ENTOMBMENT

ALLEGORY OF MUSIC, a fresco transferred to canvas
pc^trait of pacio gualtieri

Church of San Giorgio

martyrdom of saint george
Above the high altar

xxxii.

PAOLO X'KROiNESK
Church of San Paolo di Campo Marzo

MADONNA AND ( IDI.D, Willi TWO SAINTS

ViCKNZA

Church of Madonna dfl Month (Monte Berico)

saint gregory the (ireat and the uninvited guest at supper

MUSEO CiVICO

MADONNA AND CHILD, WITH TWO SAINTS (INJURED)

Less important works attributed to Paolo Veronese are also

preserved at —

Brogine (Padua)
Caldogno (Vicenza)
Cataio (Padua)

ROMANZIOL (TrEVISO)

Saletto (Padua)
Zelarin (Treviso)
Zerman (Treviso)

GERMANY Augsburg

PiNAKOTHEK

martyrdom of a woman

THE madonna and CHILD, WITH SAINTS

Berlin
The Old Museum

A PI ETA

the deposition from the cross
minerva and mars
the triumph of religion
apollo and juno

Cassel
Gallery

the dying cleopatra

the vir(;in enthroned, with saint anastasia

Dresden
Gallery

adoration of the magi
the marriage at cana
christ bearing the cross

xxxiii.

PAOLO VERONESE

the cuccina family presented to the virgin by allegorical

figures of faith, hope, and charity
the crucifixion
the resurrection
the death of saint catherine
venus and adonis
portrait of daniele barbaro
susannah and the elders
the good samaritan
the centurion of capernaum
the finding of inioses

Munich

PiNAKOTHEK

allegorical figures of justice, love, faith, and strength

portrait of a woman in a brown dress

the holy family

death of cleopatra

the repose in egypt

christ and the woman taken in adultery

christ and the centurion of capernaum

Weimar

THE marriage FEAST AT CANA (STUDY FOR)

WoRLiTz (Anhalt-Dessav)

CADMUS

RUSSIA St. Petersburg

Hermitage

the finding of moses

adoration of the magi

repose in egypt

holy family

jesus preaching in the temple

the rich man and lazarus

the crucifixion

the descent from the cross

the marriage of saint catherine

allegory of saturn turning his back on ambition

MINERVA

MARS AND VENUS

PORTRAIT OF A VENETIAN SENATOR

PORTRAIT OF AN UNKNOWN MAN

PxVOLO VERONESE

SPAIN
Prado

Madrid

VENUS AND ADONIS

THE FINDING OF MOSES

CHRIST IN THE HOUSE OF THE CENTURION

SUSANNAH AND THE ELDERS

THE MARTYRDOM OF SAINT GINES

THE ASSUMPTION

MARY MAGDALENE

THE MARRIAGE AT CAN A

THE CRUCIFIXION

A YOUTH BETWEEN VICE AND VIRTUE

ABRAHAM ABOUT TO SACRIFICE ISAAC

JESUS DISPUTING WITH THE DOCTORS

JESUS AND THE CENTURION

THE WOMAN TAKEN IN ADULTERY

THE FLIGHT OF CAIN WITH HIS WIFE AND CHH.DREN

THE ADORATION OF THE MAGI

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CATIIKRIXE, SAINT GEORGE AND THE DDXOR

Photo. .XcuerJihi
THE LOUVRE, PARIS

THE ADORATIOX OF TIIK MAGI

Photo. Han/staengl
NATIONAL GALLERY, LONDON

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THE VISION OF SAIM' IIHLENA

Photo Mansell
NATIONAL (lAI.I.ERV, LONDON

DANIELE BARBARO

PhotOt Ahnari
I'lTTI PALAlK, FLORENXE

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SAINT ANTHONY, SAINT CORNELIUS
AND SAINT CYPRIAN

BRERA <;AI.LI:RV, MILAN

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SAINT MENNA

Photo, Anderson
PINACOTECA, MODENA

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SAX riETRO, MURANO

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THE QUEEN OF SHEBA
BEFORE SOI.OMOX {Detail)

PINACOTFXA, TURIN

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THE ADORATION OF THE MAGI

Photo, Anderson
DUCAL PALACE, VENICE

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THE TRIUMPH OF VENICE

Photo, Anderson
DUCAL PALACE, VENICE

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VENICE WITH JUSTICE AND PEACE

Photo. Anderson
DICAI, PALACE, VENICE

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FAITH

Photo. A)idcrson
IH'CAL I'ALACE, VP:NICE

24

NEPTUNE AND MARS

Pfioio Andirson
DUCAL PALACE, VENICE

ADAM AND EVE

tnoio. Anderso)i
DUCAL PALACE, VENICE

26

THE PEOPLE OF MIRA

GOING TO MEET SAINT NICHOLAS

J noio. -i Hiit-rson
ACADEMY, VENICE

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THE HOLY FAMILY WITH FOUR SAINTS

Photo. Anderson
ACADEMY, VENICE

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VENICE ENTHRONED, WITH HERCULES AXD CERES

Pnoto, Anderson
ACADEMY, VENICE

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THE FLAGELLATION OF SALXT CllKLSTlXE

Photo. AndLrson
ACADEMY, VENICE

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THE BATTLE OF LEPAXTO

Photo. .Uidtrson
ACADEMY, VENICE

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THE RESURRECTION

Photo. A}td€rson
SAN FRANCISCO DELLA VIGNA, VENICE

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THE .MARRIAGE OF SAIiNT CATlIEKlIsE

Photo. .iHiit-rson
SANTA CATERI.NA, VENICE

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THE VIRGIN IN GLORY
WITH SAINTS

Photo. Apidersoji
SAN SEBASTIANOj VENICE

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44

THE PURIFICATION OF THE VIRGIN

Photo. Anderson
SAN SEBASTIAXO, VENICE

45

THE TRIUMPH OF MORDECAI

Photo, Anderson
SAN SEBASTIANO, VENICE

46

Photo. \aya

THE BAPTISM OF CHRIST church ok il redentore, Venice

47

PORTRAIT OF PACIO GUARIENTI

MUSEUM, VERONA

THE MARTYRDOM OF SAINT GEORGE

Photo, Ali7iari
CHURCH OF SAINT GEORGE, VERONA

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THE FEAST OF SAINT GREGORY (Detail

Pho!o, AmiersoJt
MONTE BERICO, VICENZA

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MINERVA AND MARS

I'holo. Hanjstaensl
NATIONAL CAI.I.ERY, BERLIN

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THE CRUCIFIXION

Photo, Brin-k))tan7i
ROYAL GALLERY, DRESDEN

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SUSANNAH AND THE ELDERS

Photo. Brnckinann
ROVAI, GALLERY, DRESDEN

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