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"Tell me," said the Veronese, turning to the younger man, "why do you young fellows make Venice ring with your scandals? You are cutting off your own 'liberties." "Yes, signore."

Many persons well worthy of credence declare that they have seen this, among them Don Giuseppe Mangiuoli of Verona, a person of saintly life, who has twice been General of his Order and would not for anything in the world assert a thing that was not absolutely true, and also Don Girolamo Volpini, likewise a Veronese, and many others.

The vast hall, in the form of a Latin cross, revealed a dusky line of frescoes. "Veronese," she murmured. Lawrence turned to the open window that looked across the water to the piazza. Beneath, beside the quay, a green-painted Greek ship was unloading grain. Some panting, half-naked men were shovelling the oats. "We might go," he said; "Caspar is probably waiting for his report.

Having seen what I could at Vicenza, I spent a night at Treviso, whence, having got up before sunrise, I drove in a weeping morning to the wonderful Villa Maser, about twenty miles away the villa whose halls and chambers are gorgeous from end to end with the frescoes of Paul Veronese, and whose tutelary gods look out over the vastness of the Lombard plains, though their view is slightly impeded by the bulk of a Renaissance church.

"It may be so, I know not," the Veronese answered indifferently, for he himself was not written in that noble chronicle. "My art deals little with these cumbrous records of the Republic." "Thou art wrong to scorn them, caro maestro, for in them is chronicled the glory of Venice." "The saying doeth honor from a pupil to his master!" the artist burst forth with his quick, uncontrollable temper.

There is a picture at the Capitol, the "Rape of Europa," by Paul Veronese, that would glow with wonderful brilliancy if it were set in a magnificent frame, and covered with a sunshine of varnish; and it is a kind of picture that would not be desecrated, as some deeper and holier ones might be, by any splendor of external adornment that could be bestowed on it.

A Paul, or with longer hair and a little more youthful aspect, an admirable St. John. Well done, well done! my son!" Well done, well done! These words from Titian had ennobled his work; they echoed loudly in his soul, and the measure of his bliss threatened to overflow, when no less a personage than the famous Paolo Veronese, invited him to come to his studio as a pupil on Saturday.

He carried a white sun-umbrella, lined with blue silk, and he strolled in front of the Paul Veronese, vaguely looking at it, but much too near to see anything but the grain of the canvas. Opposite to Christopher Newman he paused and turned, and then our friend, who had been observing him, had a chance to verify a suspicion aroused by an imperfect view of his face.

In the luxuriant style of Paul Veronese, in the capricious compositions of Tintoret, he will find something that will assist his invention, and give points, from which his own imagination shall rise and take flight, when the subject which he treats will, with propriety, admit of splendid effects.

These works, then, and many others that are here passed over, it being enough to have made mention of the best, have been executed by Tintoretto with such rapidity, that, when it was thought that he had scarcely begun, he had finished. And it is a notable thing that with the most extravagant ways in the world, he has always work to do, for the reason that when his friendships and other means are not enough to obtain for him any particular work, even if he had to do it, I do not say at a low price, but without payment or by force, in one way or another, do it he would. And it is not long since, Tintoretto having executed the Passion of Christ in a large picture in oils and on canvas for the Scuola of S. Rocco, the men of that Company resolved to have some honourable and magnificent work painted on the ceiling above it, and therefore to allot that commission to that one among the painters that there were in Venice who should make the best and most beautiful design. Having therefore summoned Joseffo Salviati, Federigo Zucchero, who was in Venice at that time, Paolo Veronese, and Jacopo Tintoretto, they ordained that each of them should make a design, promising the work to him who should acquit himself best in this. While the others, then, were engaged with all possible diligence in making their designs, Tintoretto, having taken measurements of the size that the work was to be, sketched a great canvas and painted it with his usual rapidity, without anyone knowing about it, and then placed it where it was to stand. Whereupon, the men of the Company having assembled one morning to see the designs and to make their award, they found that Tintoretto had completely finished the work and had placed it in position. At which being angered against him, they said that they had called for designs and had not commissioned him to execute the work; but he answered them that this was his method of making designs, that he did not know how to proceed in any other manner, and that designs and models of works should always be after that fashion, so as to deceive no one, and that, finally, if they would not pay him for the work and for his labour, he would make them a present of it. And after these words, although he had many contradictions, he so contrived that the work is still in the same place. In this canvas, then, there is painted a Heaven with God the Father descending with many Angels to embrace S. Rocco, and in the lowest part are many figures that signify, or rather, represent the other principal Scuole of Venice, such as the Carit