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Updated: June 17, 2025
It was a pity, if only because a more gorgeous and complete little spectacle had never been seen on the English stage. Veronese's "Marriage in Cana" had inspired many of the stage pictures, and the expenditure in carrying them out had been lavish. In the casket scene I wore a dress like almond-blossom. I was very thin, but Portia and all the ideal young heroines of Shakespeare ought to be thin.
Yes; I did look with new admiration at Paul Veronese's "Rape of Europa." It must have been, in its day, the most brilliant and rejoicing picture, the most voluptuous, the most exuberant, that ever put the sunshine to shame.
As this friar, unattended and on foot, turned out of the narrow calle from San Samuele into the Campo San Stefano, the Giustiniani, father and son, were just landing from their gondolas in the midst of a gay retinue, on the steps of the palazzo Morosini; other gondolas of other nobles were floating in full moonlight before the quay; and to Fra Paolo, who did not share the Venetian love of color and of art, the elaborately frescoed façade of an opposite palace an extravagant freak of the Veronese's which the Venetians were already beginning to cherish as the work of their great artist who would paint no more seemed an impertinence unworthy of that dazzling illumination.
Not the least interesting figure is the S. Christopher, on the right, low down by the door. At his feet is the painter's daughter, for years his constant companion, who died while he was at work upon this masterpiece. The ceiling should be examined, if one has the strength, for Veronese's sumptuous allegory of the Apotheosis of Venice.
It was a low room, not very large, and bare. Miriam had nailed on the wall a reproduction of Veronese's "St. Catherine". She loved the woman who sat in the window, dreaming. Her own windows were too small to sit in.
Renaissance millionaires could be vulgar and brutal, but they were great gentlemen. They were neither illiterate cads nor meddlesome puritans, nor even saviours of society. Yet, if we are to understand the amazing popularity of Titian's and of Veronese's women, we must take note of their niceness to kiss and obvious willingness to be kissed.
Nothing, however, is to be perfect in this world, and Paul Veronese's fine view of the suffering martyr has not size enough for the place; and is beside crowded with small unconsequential figures, which cannot be distinguished at a distance.
We can fancy the fair face of Andrea's wife being lovingly caressed by the weaver's fingers in his work; we can imagine the beauties of Titian, the sumptuousness of Veronese's feasts, and the fat materialism of Giulio Romano's heavy cherubs, all contributing to the most beautiful of textile arts.
Lastly, take Veronese's "Marriage in Cana" in the Louvre. There you have the most perfect representation possible of colour, and light, and shade, as they affect the external aspect of the human form, and its immediate accessories, architecture, furniture, and dress.
Yes; I did look with new admiration at Paul Veronese's "Rape of Europa." It must have been, in its day, the most brilliant and rejoicing picture, the most voluptuous, the most exuberant, that ever put the sunshine to shame.
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