VERONESE, va-rifp-aze, Paul (his real name was PAOLO CALIARI), Italian pamter: b. Verona, 1528; d. Venice, 19 April 1588. He studied under his uncle Antonio Badile, a painter, and copied the style of Carazzola and the Veronese school, as appears from the many altar-pieces and frescoes which he executed at Verona. He went in 1548 to Mantua where he executed frescoes for the cathedral and after ward to Venice. Here he imitated Titian and Tintoretto, but at the same time appeared de sirons of surpassing them by a more studied elegance and a richer variety of ornament. It soon became evident from his works that he had studied the ancient statues, and the etchings of Parmesan and Albert Duren His first works are frescoes on the ceiling of the sacristy in the Church of Saint Sebastian in Venice, now known to the Italians as vreator di Gloria? that is, the glory of Veronese. The 'History of Esther,) in fresco, which he afterward painted in this church, excited general admira tion. Among other worlcs by him at Venice are 'The Coronation of the Virgin,) altar-piece; the 'Martyrdom of Saint Sebastian' ; 'The Feast at Simon's House) (now in the Brera, Milan). It was during this time that he formed his style as a master of the Venetian school. He had already acquired the Veronese spirit of color, with its clear pale tone and soft har moniousness. He was now under the influence of Titian, but he never surrendered his own individuality so far as to become an imitator. After accompanying the Venetian Ambassador, Grimani, to Rome he saw vvith enthusiasm the beautiful models of Raphael and Michelangelo, and painted after his return his fine 'Apotheosis of Venice.) His numerous banqueting pieces
are also excellent. Six at least of these are found at Venice in the refectories of the mon asteries, among the best of which are the 'Mar riage at Cana,' comprising 120 figures, many of whicli are portraits. In this piece the extrav agant display of almost Asiatic pomp, and the confusion of different persons and dresses have been justly censured. The air of pride in the aspect of Christ instead of a sitnyde expres sion of dignity, the placing of the PrinciPal Per sonage in. a comer of the picture and the con fused blending of the white tablecloth and the architecture of the background have also been considered blemishes. In his 'Pilgrims of Emmaus) Veronese violated all the unities of time, place and action. But with all these faults he displays talent and fruitfulness of concep tion. In short, his works are rather to be con sidered as contributions to decorative effect than either religious paintings or representations of life in the past. They are neither historic nor devotional, hut merely magnificent combinations oi form and color intended to add life, warmth and variety to vast architectural spaces and to interest the spectator by their expressive faces, their gorgeous costumes and the movement and dramatic action of the scene. Veronese died in 1588. His scholars were Charles and Gabriel, his sons, and Benedetto, his brother, besides Michael Parrasio, Naudi, Maffei, Verona, Fran cisco Montemezzano. Consult Weiggirer, 'Ver onese' (1897).