Note (return) — Chapter VI

Veronese is reported to have been far more correct and careful in drawing than was Tintoret, while Veronese's prodigality of colour was a mellowed version of Tintoret's glare or deadness. One of Veronese's best pictures is the 'Marriage of Cana,' painted originally for the refectory of the convent of San Giorgio, Venice, and now in the Louvre. 'It is not less than thirty feet long and twenty feet high, and contains about one hundred and thirty figures, life size. The Marriage Feast of the Galilean citizen is represented with a pomp worthy of "Ormuz or of Ind." A sumptuous hall of the richest architecture; lofty columns, long lines of marble balustrades rising against the sky; a crowd of guests splendidly attired, some wearing orders of knighthood, are seated at tables covered with gorgeous vases of gold and silver, attended by slaves, jesters, pages, and musicians. In the midst of all this dazzling pomp, this display of festive enjoyment, these moving figures, these lavish colours in glowing approximation, we begin after a while to distinguish the principal personages, our Saviour, the Virgin Mary, the twelve Apostles, mingled with Venetian senators and ladies, clothed in the rich costume of the sixteenth century; monks, friars, poets, artists, all portraits of personages existing in his own time; while in a group of musicians he has introduced himself and Tintoretto playing the violoncello, while Titian plays the bass. The bride in this picture is said to be the portrait of Eleanor of Austria, the sister of Charles V, and second wife of Francis I.' 21