Paolo Veronese

Paolo Veronese
Self portrait
Born	1528 Verona
Died	19 April 1588 Venice
Nationality	Italian
Known for	Painting
Movement	Renaissance
Patron(s)	Barbarigo family, Barbaro family

Paolo Caliari, known as Paolo Veronese (1528 – 19 April 1588) was an Italian Renaissance painter based in Venice, most famous for large history paintings of both religious and mythological subjects, such as The Wedding at Cana and The Feast in the House of Levi. With Titian, who was at least a generation older, and Tintoretto, ten years older, he was one of the "great trio that dominated Venetian painting of the cinquecento" or 16th-century late Renaissance. Veronese is known as a supreme colorist, and after an early period with Mannerist influence turned to a more naturalist style influenced by Titian.

His most famous works are elaborate narrative cycles, executed in a dramatic and colorful style, full of majestic architectural settings and glittering pageantry. His large paintings of biblical feasts, crowded with figures, painted for the refectories of monasteries in Venice and Verona are especially famous, and he was also the leading Venetian painter of ceilings. Most of these works remain in situ, or at least in Venice, and his representation in most museums is mainly composed of smaller works such as portraits that do not always show him at his best or most typical.

He has always been appreciated for "the chromatic brilliance of his palette, the splendor and sensibility of his brushwork, the aristocratic elegance of his figures, and the magnificence of his spectacle", but his work has been felt "not to permit expression of the profound, the human, or the sublime", and of the "great trio" he has often been the least appreciated by modern criticism. Nonetheless, "many of the greatest artists ... may be counted among his admirers, including Rubens, Watteau, Tiepolo, Delacroix and Renoir".

Life and work

Deposition of Christ, c. 1547

Birth and names

Veronese took his usual name from his birthplace of Verona, then the largest possession of Venice on the mainland. The census in Verona attests that Veronese was born sometime in 1528 to a stonecutter, or spezapreda, named Gabriele, and his wife Catherina. He was their fifth child. It was common for surnames to be taken from a father's profession, and thus Veronese was known as Paolo Spezapreda. He later changed his name to Paolo Caliari, because his mother was the illegitimate daughter of a nobleman called Antonio Caliari. His earliest known painting is signed "P. Caliari F., "the first known instance in which he used this surname", and after using "Paolo Veronese" for several years in Venice, after about 1575 he resumed signing his paintings as "Paolo Caliari". He was often called "Paolo Veronese" before the last century to distinguish him from another painter from Verona, "Alessandro Veronese", now known as Alessandro Turchi (1578–1649).

Youth

The Conversion of Mary Magdalene, c. 1548

By 1541, Veronese was apprenticed with Antonio Badile, who was later to become his father-in-law, and in 1544 was an apprentice of Giovanni Francesco Caroto; both were leading painters in Verona. An altarpiece painted by Badile in 1543 includes striking passages that were most likely the work of his fifteen-year-old apprentice; Veronese's precocious gifts soon surpassed the level of the workshop, and by 1544 he was no longer residing with Badile. Although trained in the culture of Mannerism then popular in Parma, he soon developed his own preference for a more radiant palette.

In his late teens he painted works for important churches in Verona, and in 1551 he was commissioned by the Venetian branch of the important Giustiniani family to paint the altarpiece for their chapel in the church of San Francesco della Vigna, which was then being entirely rebuilt to the design of Jacopo Sansovino. In the same year he worked on the decoration of the Villa Soranzo near Treviso, with his fellow Veronese Giovanni Battista Zelotti and Anselmo Canneri; only fragments of the frescos remain, but they seem to have been important in establishing his reputation. The description by Carlo Ridolfi nearly a century later mentions that one of the mythological subjects was The Family of Darius before Alexander, the rare subject in Veronese's grandest treatment of secular history, now in the National Gallery, London.

In 1552 Cardinal Ercole Gonzaga, great-uncle of the ruling Guglielmo Gonzaga, Duke of Mantua, commissioned an altarpiece for Mantua Cathedral (now Caen, France), which Veronese painted in situ. He doubtless used his time in Mantua to study the ceilings by Giulio Romano; it was a painter of ceiling frescos that he would initially make his mark in Venice, where he based himself permanently from the following year.

Venice

St Mark, San Sebastiano (1556–57)

House of Veronese in Venice

Veronese moved to Venice in 1553 after obtaining his first state commission, ceilings in fresco decorating the Sala dei Cosiglio dei Dieci (the Hall of the Council of Ten) and the adjoining Sala dei Tre Capi del Consiglio in the Doge's Palace, in the new rooms replacing those lost in the fire of 1547. His panel of Jupiter Expelling the Vices for the former is now in the Louvre. He then painted a History of Esther in the ceiling for the church of San Sebastiano (1556–57). It was these ceiling paintings and those of 1557 in the Marciana Library (for which he was awarded a prize judged by Titian and Sansovino) that established him as a master among his Venetian contemporaries. Already these works indicate Veronese's mastery in reflecting both the subtle foreshortening of the figures of Correggio and the heroism of those by Michelangelo.

Villa Barbaro and refectory paintings

By 1556 Veronese was commissioned to paint the first of his monumental banquet scenes, the Feast in the House of Simon, which would not be concluded until 1570. Owing to its scattered composition and lack of focus, however, it was not his most successful refectory mural. In the late 1550s, during a break in his work for San Sebastiano, Veronese decorated the Villa Barbaro in Maser, a newly finished building by the architect Andrea Palladio. The frescoes were designed to unite humanistic culture with Christian spirituality; wall paintings included portraits of the Barbaro family, and the ceilings opened to blue skies and mythological figures. Veronese's decorations employed complex perspective and trompe l'oeil, and resulted in a luminescent and inspired visual poetry. The encounter between architect and artist was a triumph.

The Wedding at Cana, 1562–1563. Louvre

The Wedding at Cana, painted in 1562–1563, was also collaboration with Palladio. It was commissioned by the Benedictine monks for the San Giorgio Maggiore Monastery, on a small island across from Saint Mark's, in Venice. The contract insisted on the huge size (to cover 66 square meters), and that the quality of pigment and colors should be of premium quality. For example, the contract specified that the blues should contain the precious mineral lapis-lazuli.() The contract also specified that the painting should include as many figures as possible. There are a number of portraits (including those of Titian and Tintoretto, as well as a self-portrait of Veronese) staged upon a canvas surface nearly ten meters wide. The scene, taken from the New Testament Book of John, II, 1–11, represents the first miracle performed by Jesus, the making of wine from water, at a marriage in Cana, Galilee. The foreground celebration, a frieze of figures painted in the most shimmering finery, is flanked by two sets of stairs leading back to a terrace, Roman colonnades, and a brilliant sky.

In the refectory paintings, as in The Family of Darius before Alexander (1565–1570), Veronese arranged the architecture to run mostly parallel to the picture plane, accentuating the processional character of the composition. The artist's decorative genius was to recognize that dramatic perspectival effects would have been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion. These paintings offer little in the representation of emotion; rather, they illustrate the carefully composed movement of their subjects along a primarily horizontal axis. Most of all they are about the incandescence of light and color. The exaltation of such visual effects may have been a reflection of the artist's personal well-being, for in 1565 Veronese married Elena Badile, the daughter of his first master, and by whom he would eventually have a daughter and four sons.

Also painted between 1565–70 is his Madonna and Child with St. Elizabeth, the Infant St. John the Baptist, and St. Justina in the Timken Museum of Art, San Diego. St. Justina, a patroness of Padua and Venice, is at the right with the Blessed Virgin Mother and the Christ child in the center. In contrast to Italian works of a century earlier the infant is rendered convincingly as an infant. What makes one stop and take notice in this painting is the infant's reaching out to St. Justina, since a baby of this age would normally limit his gaze to his mother. Completing the work is St. Elizabeth, the cousin of Mary and mother of St. John the Baptist, located on the left. The artist delicately balances the forms of the extended Holy Family and renders them using a superb balance of warm and cool colors.

The Feast in the House of Levi

In 1573 Veronese completed the commission for The Feast in the House of Levi, a last-supper painting meant to be hung at the rear wall of the refectory at the Basilica di Santi Giovanni e Paolo, Castello, Venice. Originally titled The Last Supper, the painting was to replace a Titian painting burnt in a fire; Veronese's over-sized (5.55m x 12.80m) replacement depicted a Last Supper banquet scene that included German soldiers, dwarves, and animals — the human and animal exotica usual to Veronese's representational narratives. Artistically, The Feast in the House of Levi indicates Veronese's technical development in using intense and luminous colours for texture, attention to narrative coherence, the acute representation of human emotion, and the psychologically subtle interplay occurring among the characters who crowd the scene.

The Feast in the House of Levi (1573) featured people and animals that the Inquisition perceived as heretical. The Inquisitors' investigation found no heresy, yet ordered Paolo Veronese to re-title the painting something other than The Last Supper, the original title.

Given the subject of the painting, the biblical Last Supper, the humanistic depictions of the characters lacked the piousness usual to Roman Catholic art depicting the Christ character and the events of his life; and the Inquisition readily noticed Veronese's irreligiosity. By the 1570s, the theology of the Counter-Reformation had given legal authority to Roman Catholic doctrine in Venice, which was a new, political development for an artist sch as Veronese. Professionally, in the Venetian republic of the Late–Renaissance, for an artist, painting crowd scenes had acquired political ramifications regarding who and what appeared in a religious painting commissioned from him, regardless of the patron or patroness.

A decade earlier, the Benedictine monks who commissioned the The Wedding at Cana (1563) had directed Veronese, as an artist, to freely include as many human figures as would fit in the banquet scene. In contrast, a decade later, Veronese encountered legal, religious constraints that determined the suitability (theological, political, sociological) of who and what he depicted in a painting — thus, on 18 July 1573, the Inquisition legally summoned Veronese before a tribunal, to explain the presence of what Church doctrine considered characters, animals, and indecorum extraneous to an image of the Last Supper of the Christ.

The tribunal's interrogation of the painter Veronese was cautionary, rather than punitive; political, rather than judicial; nonetheless, Veronese explained to the Inquisitiors that “we painters take the same liberties as poets and madmen” in telling a story. Although the Inquisition's tribunal ordered Veronese to repaint the last-supper scene, he opposed their remedy to his theological offences, yet was compelled to re-title the painting from the sacramental The Last Supper to The Feast in the House of Levi. That an artist, such as Paolo Veronese, had successfully perdured against the Inquisition's implied accusation of heresy, indicated he had the discreet political support of a patrician patron of the arts.

Assessment

Perseus and Andromeda, 1576–78

Veronese was included in the second edition of 1568 of Vasari's Lives, for which Vasari travelled to Venice in an attempt to improve the Florentine bias of his first edition in 1550. A fuller biography had to await Carlo Ridolfi's work of 1646, later included in his 1648 compilation on the Venetian painters. This remains "by far the most important source for our knowledge of his art". Ridolfi wrote of the Feast in the House of Levi that it "gave rein to joy, made beauty majestic, made laughter itself more festive."

A modern assessment of Veronese's achievement by Sir Lawrence Gowing reads:

The French had no doubts, as the critic Théophile Gautier wrote in 1860, that Veronese was the greatest colorist who ever lived—greater than Titian, Rubens, or Rembrandt because he established the harmony of natural tones in place of the modeling in dark and light that remained the method of academic chiaroscuro. Delacroix wrote that Veronese made light without violent contrasts, "which we are always told is impossible, and maintained the strength of hue in shadow.

This innovation could not be better described. Veronese's bright outdoor harmonies enlightened and inspired the whole nineteenth century. He was the foundation of modern painting. But whether his style is in fact naturalistic, as the Impressionists thought, or a more subtle and beautiful imaginative invention must remain a question for each age to answer for itself.

Working practices

See also Category:Paintings by Paolo Veronese

In addition to the ceiling creations and wall paintings, Veronese also produced altarpieces (The Consecration of Saint Nicholas, 1561–2, London's National Gallery ), paintings on mythological subjects (Venus and Mars, 1578, New York Metropolitan Museum of Art ), and portraits (Portrait of a Lady, 1555, Louvre). A significant number of compositional sketches in pen, ink and wash, figure studies in chalk, and chiaroscuro modelli and ricordi survive.

He headed a family workshop, including his younger brother Benedetto (1538–98) as well as his sons Carlo and Gabriele, and his nephew Luigi Benfatto (also called dal Friso; 1559–1611), that remained active for a decade or so after his death in Venice in 1588, signing their work "Haeredes Pauli" ("Heirs of Paolo"), and continuing to use his drawings. According to Nicholas Penny, "The role of the workshop seems to have increased steadily, and after 1580 it is rare that we can feel confident that Veronese's was the sole hand involved". Among his pupils were his contemporary Giovanni Battista Zelotti and later, Giovanni Antonio Fasolo, Sigismondo de Stefani, and Anselmo Canneri. The Caliari family continued and another Paolo Caliari published the first monograph on his ancestor in 1888.

Veronese was one of the first painters whose drawings were sought by collectors during his lifetime.

Transcript of the 1573 Inquisition hearing

Images on the right show the start of the five page transcript of Paolo Veronese's evidence from July 1573:

Cover of Veronese Inquisition Transcript from 1573

Transcript of Veronese Inquisition page1

Veronese Inquisition of 1573 Transcript Page 4

This English translation by Charles Yriarte from the Italian is taken from Francis Marion Crawford's Salve Venetia (New York, 1905. Vol. II: 29–34):

"This day, July eighteenth, 1573. Called to the Holy Office before the sacred tribunal, Paolo Galliari Veronese residing in the parish of Saint Samuel, and being asked as to his name and surname replied as above.
Being asked as to his profession:
Answer. I paint and make figures.
Question. Do you know the reasons why you have been called here?
A. No.
Q. Can you imagine what those reasons may be?
A. I can well imagine.
Q. Say what you think about them.
A. I fancy that it concerns what was said to me by the reverend fathers, or rather by the prior of the monastery of San Giovanni e Paolo, whose name I did not know, but who informed me that he had been here, and that your Most Illustrious Lordships had ordered him to cause to be placed in the picture a Magdalen instead of the dog; and I answered him that very readily I would do all that was needful for my reputation and for the honor of the picture; but that I did not understand what this figure of the Magdalen could be doing here; and this for many reasons, which I will tell, when occasion is granted me to speak.
Q. What is the picture to which you have been referring?
A. It is the picture which represents the Last Supper of Jesus Christ with His disciples in the house of Simon.
Q. Where is this picture?
A. In the refectory of the monks of San Giovanni e Paolo.
Q. Is it painted in fresco or on wood or on canvas?
A. It is on canvas.
Q. How many feet does it measure in height?
A. It may measure seventeen feet.
Q. And in breadth?
A. About thirty-nine.
Q. How many have you represented? And what is each one doing?
A. First there is the innkeeper, Simon; then, under him, a carving squire whom I supposed to have come there for his pleasure, to see how the service of the table is managed. There are many other figures which I cannot remember, however, as it is a long time since I painted that picture.
Q. Have you painted other Last Suppers besides that one?
A. Yes.
Q. How many have you painted? Where are they?
A. I painted one at Verona for the reverend monks of San Lazzaro; it is in their refectory. Another is in the refectory of the reverend brothers of San Giorgio here in Venice.
Q. But that one is not a Last Supper, and is not even called the Supper of Our Lord.
A. I painted another in the refectory of San Sebastiano in Venice, another at Padua for the Fathers of the Maddalena. I do not remember to have made any others.
Q. In this Supper which you painted for San Giovanni e Paolo, what signifies the figure of him whose nose is bleeding?
A. He is a servant who has a nose-bleed from some accident.
Q. What signify those armed men dressed in the fashion of Germany, with halberds in their hands?
A. It is necessary here that I should say a score of words.
Q. Say them.
A. We painters use the same license as poets and madmen, and I represented those halberdiers, the one drinking, the other eating at the foot of the stairs, but both ready to do their duty, because it seemed to me suitable and possible that the master of the house, who as I have been told was rich and magnificent, would have such servants.
Q. And the one who is dressed as a jester with a parrot on his wrist, why did you put him into the picture?
A. He is there as an ornament, as it is usual to insert such figures.
Q. Who are the persons at the table of Our Lord?
A. The twelve apostles.
Q. What is Saint Peter doing, who is the first?
A. He is carving the lamb in order to pass it to the other part of the table.
Q. What is he doing who comes next?
A. He holds a plate to see what Saint Peter will give him.
Q. Tell us what the third is doing.
A. He is picking his teeth with a fork.
Q. And who are really the persons whom you admit to have been present at this Supper?
A. I believe that there was only Christ and His Apostles; but when I have some space left over in a picture I adorn it with figures of my own invention.
Q. Did some person order you to paint Germans, buffoons, and other similar figures in this picture?
A. No, but I was commissioned to adorn it as I thought proper; now it is very large and can contain many figures.
Q. Should not the ornaments which you were accustomed to paint in pictures be suitable and in direct relation to the subject, or are they left to your fancy, quite without discretion or reason?
A. I paint my pictures with all the considerations which are natural to my intelligence, and according as my intelligence understands them.
Q. Does it seem suitable to you, in the Last Supper of our Lord, to represent buffoons, drunken Germans, dwarfs, and other such absurdities?
A. Certainly not.
Q. Then why have you done it?
A. I did it on the supposition that those people were outside the room in which the Supper was taking place.
Q. Do you not know that in Germany and other countries infested by heresy, it is habitual, by means of pictures full of absurdities, to vilify and turn to ridicule the things of the Holy Catholic Church, in order to teach false doctrine to ignorant people who have no common sense?
A. I agree that it is wrong, but I repeat what I have said, that it is my duty to follow the examples given me by my masters.
Q. Well, what did your masters paint? Things of this kind, perhaps?
A. In Rome, in the Pope's Chapel, Michelangelo has represented Our Lord, His Mother, St. John, St. Peter, and the celestial court; and he has represented all these personages nude, including the Virgin Mary, and in various attitudes not inspired by the most profound religious feeling.
Q. Do you not understand that in representing the Last Judgment, in which it is a mistake to suppose that clothes are worn, there was no reason for painting any? But in these figures what is there that is not inspired by the Holy Spirit? There are neither buffoons, dogs, weapons, nor other absurdities. Do you think, therefore, according to this or that view, that you did well in so painting your picture, and will you try to prove that it is a good and decent thing?
A. No, my most Illustrious Sirs; I do not pretend to prove it, but I had not thought that I was doing wrong; I had never taken so many things into consideration. I had been far from imaging such a great disorder, all the more as I had placed these buffoons outside the room in which Our Lord was sitting.
These things having been said, the judges pronounced that the aforesaid Paolo should be obliged to correct his picture within the space of three months from the date of the reprimand, according to the judgments and decision of the Sacred Court, and altogether at the expense of the said Paolo.
'Et ita decreverunt omni melius modo.' (And so they decided everything for the best!)"

The controversy surrounding the painting, and its creative resolution, were echoed in the Monty Python comedy sketch in which the Pope summoned a fictional Michelangelo to account for his version of the Last Supper featuring a kangaroo, 28 disciples, and 3 Christs. In the sketch, the artist optimistically offers to solve the difficulty by retitling his work The Penultimate Supper.

Selected works

Title	Created	Medium	Size (cm)	Owner	City
Arachne or Dialectics	(1520)	Fresco	??	Palazzo Ducale	Venice, Italy
Leda and the Swan (subject)	??	Oil on canvas	??	Musée Fesch	Ajaccio, Corsica
The Conversion of Mary Magdalene	(1545–1548)	Oil on canvas	163.5 × 117	National Gallery	London
St. Anthony Tempted by the Devil	(1552–1553)	Oil on canvas	198 × 151	Musée des Beaux-Arts	Caen
Zeus ousting the Vices	(1553?)	Oil on canvas	650 × 330	Louvre	Paris
St. Mark Crowning the Virtue	(1554?)	Oil on canvas	330 × 317	Louvre	Paris
Coronation of the Virgin	(1555)	Oil on canvas	?	San Sebastiano	Venice
La Bella Nani (Portrait of a Woman)	(1555–1560?)	Oil on canvas	119 × 103	Louvre	Paris
Annunciation	(1555?)	Oil on canvas	193 × 291	Uffizi	Florence
Jesus among the Doctors in the Temple	(1558)	Oil on canvas	236 × 430	Prado	Madrid
Assumption of the Virgin	(1558?)	Oil on canvas	340 × 455	San Giovanni e Paolo	Venice
The Marriage at Cana	(1560?)	Oil on canvas	207 × 457	Gemäldegalerie	Dresden
Portrait of a Man	(1560?)	Oil on canvas	120 × 102	Museum of Fine Arts	Budapest
The Resurrection of Jesus Christ	(1560)	Oil on canvas	...	San Francesco della Vigna	Venice
Decoration of the Villa Barbaro: Bacchus Giving Wine to Men, Giustiniana Giustiniani with Her Nurse and other scenes	(1560–1561)	Fresco	??	Villa Barbaro, Maser	Maser, Treviso
Venus and Adonis	(1561+)	Oil on canvas	123 × 174	Staatliche Kunstsammlungen	Augsburg
Virgin in Glory with Saints	(1562?)	Oil on canvas	??	San Sebastiano	Venice
St John the Baptist Preaching	(1562?)	Oil on canvas	??	Galleria Borghese	Rome
Madonna Enthroned with Saints	(1562?)	Oil on canvas	339 × 191	Gallerie dell'Accademia	Venice
The Wedding at Cana	(1563)	Oil on canvas	677 × 994	Louvre	Paris
Petrobelli altarpiece	(c. 1563)	Oil on canvas	Now divided	Dulwich Picture Gallery, National Gallery of Scotland, National Gallery of Canada, Blanton Museum of Art	Ottawa, Dulwich, Edinburgh & Austin, Texas
Holy Family and Saints (San Zaccaria Altarpiece; 1564)	1564	Oil on canvas	328 × 188	Gallerie dell'Accademia	Venice
Martyrdom of St. George	(1564)	Oil on canvas	426 × 305	San Giorgio in Braida	Verona
Sts. Mark and Marcellian Being Led to Martyrdom	(1565)	Oil on canvas	??	San Sebastiano	Venice
Martyrdom of St. Sebastian	(1565)	Oil on canvas	??	San Sebastiano	Venice
The Family of Darius before Alexander	(1565–1570)	Oil on canvas	236.2 × 475.9	National Gallery	London
Madonna and Child with St. Elizabeth,the Infant St. John the Baptist, and St. Justina	(1565–1570)	Oil on canvas	40-7/8 x 62-1/4 in.	Timken Museum of Art	San Diego
Portrait of Daniele Barbaro	(1565–1567)	Oil on canvas	121 × 105.5	Rijksmuseum	Amsterdam
The Allegory of Love four scenes	(1570)	Oil on canvas	191 × 191	National Gallery	London
The Resurrection of Christ	(1570?)	Oil on canvas	136 × 104	Gemäldegalerie	Dresden
Die Madonna mit der Familie Cuccina	(1570?)	Oil on canvas	167 × 416	Gemäldegalerie	Dresden
The Finding of Moses	(1570?–1575?)	Oil on canvas	??	Kunsthistorisches Museum	Vienna
Bathsheba Bathing	(1575?)	Oil on canvas	191 × 224	Museum of Fine Arts of Lyon	Lyon
Portrait of a Sculptor	(1550?–1585?)	Oil on canvas	110.5 × 89	Metropolitan Museum of Art	New York
Battle of Lepanto	(1572?)	Oil on canvas	169 × 137	Gallerie dell'Accademia	Venice
The Supper of St Gregory the Great	(1572)	Oil on canvas	??	Monte Berico, Vicenza	Vicenza
The Feast in the House of Levi	(1573)	Oil on canvas	555 × 1,280	Gallerie dell'Accademia	Venice
Adoration of the Magi	(1573)	Oil on canvas	356 × 320	National Gallery	London
The Martyrdom of St. Justine	(1573?)	Oil on canvas	103 × 113	Uffizi	Florence
Ceres Renders Homage to Venice	(1575)	Oil on canvas	309 × 328	Gallerie dell'Accademia	Venice
Mystical Marriage of St Catherine	(1575?)	Oil on canvas	337 × 241	Gallerie dell'Accademia	Venice
Venus, Mars and Love with a Horse	(1575?)	Oil on canvas	47 × 47	Galleria Sabauda	Turin
Pietà	(1576–1582)	Oil on canvas	147 × 115	The Hermitage	St. Petersburg
The Resurrection of Christ	(1578?)	Oil on canvas	273 × 156	The Chapel, Chelsea and Westminster Hospital	London
Mars and Venus United by Love	(1578?)	Oil on canvas	205.7 × 161	Metropolitan Museum of Art	New York
Hermes, Herse and Aglaulus	(1576?–1584?)	Oil on canvas	232.4 × 173	Fitzwilliam Museum	Cambridge, UK
The Rape of Europa	(1580)	Oil on canvas	240 × 303	Sala dell'Anticollegio, Doge's Palace	Venice
Venus and Adonis	(1580)	Oil on canvas	212 × 191	Prado	Madrid
Christ and the Centurion	(1580?)	Oil on canvas	99.2 × 130.8	Toledo Museum of Art	Toledo, Ohio
Lucretia	(1580s)	Oil on canvas	109 × 90.5	Kunsthistorisches Museum	Vienna
Christ in the Garden Supported by an Angel	(1580?)	Oil on canvas	80 × 108	Pinacoteca di Brera	Milan
St. Anthony Preaching to the Fish	(1580?)	Oil on canvas	??	Galleria Borghese	Rome
The Vision of St. Helena	(1580?)	Oil on canvas	166 × 134	Pinacoteca Vaticana	Rome
Allegory of Wisdom and Strength	(1580?)	Oil on canvas	214.6 × 167	Frick Collection	New York
Judith and Holofernes	(1580?)	Oil on canvas	195 × 176	Galleria di Palazzo Rosso	Genoa
The People of Myra Welcoming St. Nicholas	(1582?)	Oil on canvas	diameter: 198	Gallerie dell'Accademia	Venice
Apotheosis of Venice	(1585)	Oil on canvas	904 × 579	Doge's Palace	Venice
Siege of Scutari	(1585)	Oil on canvas	904 × 579	Doge's Palace	Venice
The Conversion of Saint Pantaleimon	(1587)	??	??	San Pantalon	Venice
Portrait of Agostino Barbarigo	??	Oil on canvas	60 × 48	Museum of Fine Arts	Budapest
Baptism and Temptation of Christ	??	Oil on canvas	245 × 450	Pinacoteca di Brera	Milan
Portrait of a Venetian Woman (La Bella Nani)	??	Oil on canvas	117.3 × 100.8	Alte Pinakothek	Munich
Susanna in the Bath	??	Oil on canvas	198 × 198	Louvre	Paris
Noli me tangere	??	Oil on canvas	??	Museum of Grenoble	Grenoble
Christ Crowned with Thorns	c. 1585	Oil on canvas	75.5 x 57.3	Montreal Museum of Fine Arts	Montreal
Sitting dog	??	Oil on canvas	44 × 82	National Gallery	Oslo
Supper at Emmaus (subject)	1565–1570	Oil on canvas	66 × 79	Museum Boijmans Van Beuningen	Rotterdam
David with the Head of Goliath	(1575)	Oil on canvas	??	Lobkowicz Palace	Prague

Veronese in popular culture

• The Monty Python sketch "The Last Supper" from Monty Python Live at the Hollywood Bowl is based on the story of Veronese's painting The Feast in the House of Levi.
• An imaginary Veronese painting called "La Morte dil Cesare" is prominently featured in a story arc of the award winning comics series 100 Bullets.

Veronese in religion

• In the Ascended Master Teachings of Elizabeth Clare Prophet, Paolo Veronese is regarded as one of the earthly embodiments of one of the ascended masters, a group of beings guiding the spiritual destiny of the planet Earth and its people. Specifically, he is regarded as the Master Paul the Venetian, Master of the Third Ray.

References

• Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500–1600. Penguin Books Ltd. pp. 550–60.
• Penny, Nicholas, National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume II, Venice 1540–1600, 2008, National Gallery Publications Ltd, ISBN 1857099133
• Rearick, W. R.: The Art of Paolo Veronese 1528–1588, National Gallery of Art, 1988
• Rosand, David, Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto, 2nd ed 1997, Cambridge UP ISBN 0521565685
• Watson, Peter; Wisdom and Strength, the Biography of a Renaissance Masterpiece, Hutchinson, 1990, ISBN 009174637X

External links

• Art view; Homage to a Gentleman of Verona [1]
• Veronese biography on Web Gallery of Art with link to images of many of his paintings
• Paolo Caliari – Biographical article in the 1911 Catholic Encyclopedia
• Gallery at Museum Syndicate