CAGLIA'RI, or CALIA'RI, PAOLO, called PAOLO VERONESE, from the place of his birth, was the most eminent master in what may be termed the ornamental style of painting. He was born at Verona, in 1532 seconding to Ridolfi, but more probably in 1530 ; Zanotti says 1532. His father, Gabriele Cagliari, was a sculptor, and origi nally intended his son for his own profession ; but in consequence of the boy's determined preference for the sister art, he was placed under his uncle, Antonio Badile, to be taught painting. He improved rapidly, and very early in his life enjoyed an extensive and profitable patronage.
While yet young he visited Venice, where he was commissioned to execute some paintings in the church and sacristy of St. Sebastian.
The pictures excited universal admiration, from the originality of the style and the vivacity of the design. Commissions for oil paintings poured in upon him, and a portion of the walls of the ducal palace was allotted to him for embellishment. From this time his fame and wealth increased rapidly.
He subsequently went to Rome; and in the course of his life visited numerous towns of his native country, in which he left behind him many lasting memorials. He was so well satisfied with his honours and emoluments at home, that he declined accepting the invitation of Philip II. to visit Spain, and contribute some works to the Escurial.
He lived a life of uninterrupted labour and success, and died at Venice in April 1588, leaving great wealth to his two sons, Gabriele and Carlo, who were also his pupils. They did not however attain their father's celebrity. Carlo died young. Gabriele is said to have abandoned painting for mercantile pursuits. Paolo had a brother, Benedetto Cagliari, who was a sculptor, but also practised painting : some of the fine architectural back-grounds which adorn the pictures of Paolo are attributed to him.
Paolo Veronese ranks among the greatest masters of the art, espe cially as a colourist. His colouring is less true to nature than Titian's, and less glowing in the tints ; but is rich and brilliant, and abounds in variety and pleasing contrasts. His style is florid and ornate, his invention easy and fertile, and his execution characterised by a mas terly facility. His principal works are at Venice, but his productions aro to be met with in most collections. One of his finest works, the 'Marriage at Cana, is in the Louvre. Our own National Gallery con tains two very excellent works by him.