Veronese

Paolo Caliari, known as Veronese from his native city of Verona, was the fifth child of Gabriele di Piero, a stonecutter. Caliari was the name of a noble Veronese family, which he adopted after he became a successful painter. There is documentary evidence to support a range of dates of birth between 1527 and 1532, but 1528 is the most probable year. He is probably the Paulus, aged fourteen, recorded in 1541 as garzone in the workshop of the painter Antonio Badile. Vasari says that Giovanni Caroto was his master; but Borghini and Ridolfi confirm that he was Badile’s pupil, whose daughter he married in 1566. Titian was an obvious influence, but artists as diverse as Michelangelo, Giulio Romano and Parmigianino also appear to have contributed to his formation.

Veronese’s earliest surviving paintings date from the late 1540s. He seems to have first made his name as a frescante, decorating the façades of houses and interiors of villas. Early in his career, he collaborated with Giovanni Battista Zelotti (1526-78), a fellow pupil of Badile. By 1555 (and perhaps as early as 1553) he had moved to Venice. In November of that year he completed his first works for the church of San Sebastiano, the decoration of which occupied him off and on for the next fifteen years. He rarely left the Veneto, although (according to Ridolfi) he visited Rome in 1560 with Girolamo Grimani, Procurator of St Mark’s. On a famous occasion in 1573 he was called before a tribunal of the Inquisition to account for improprieties (‘buffoons, drunkards, German soldiers, dwarfs and similar vulgarities’) in a huge religious Feast now in the Accademia. Although he never achieved the international status of Titian, he was patronised late in his career by the Emperor Rudolph II and Philip of Spain. Such enthusiasm developed in Spain for his work that in 1585 he was offered a staggering 2,000 ducats to move to Madrid – an offer he eventually declined.

He produced an enormous range of work: altarpieces, huge biblical feast scenes for the refectories of the greater monasteries, mythological subjects and allegories, small devotional pictures and cassone panels, frescoes for façades (now totally lost) and for interiors of villas, ceiling paintings and portraits. He was a supreme colourist and decorator. His large canvases are full of light and colour, ceremony and splendour, with magnificent architectural settings inspired by Sansovino or Palladio and with people sumptuously dressed at the height of fashion or in fancy costume. The gaiety and relaxed opulence of his famous feast scenes contrast with the tense drama and humble surroundings of Tintoretto’s Last Suppers. Only in some late works is there much emotion or religious feeling. Unlike Titian or Tintoretto, he rarely painted official portraits. His full-length and three-quarter length representations of noblemen, rich merchants and fine ladies tend to be decorative and opulent like his other works, and typically convey the aristocratic poise and assurance of their sitters. They include such masterpieces as the companion portraits of Iseppo and Livia da Porto with Their Children (Uffizi and Walters Art Gallery, Baltimore), the Daniele Barbaro (Rijksmuseum, Amsterdam) and so-called 'Bella Nani' (Louvre).

To fulfil so many major commissions, Veronese relied on a team of skilled assistants – often members of his family. Relatively few of his paintings are documented or dated. Since he often worked concurrently in rather different styles, stylistic criticism has struggled to construct an agreed chronology, and some pictures are dated twenty years apart by different critics.

Veronese died on 19 April 1588 in his house at San Samuele of pneumonia contracted on a trip to Treviso, and was buried in his parish church of San Sebastiano. His workshop was carried on after his death by his younger brother Benedetto (1538-98) and his sons Carletto (1570-96) and Gabriele (1568-1631), who signed a number of paintings (including two scenes from the Life of Pope Alexander III in the Sala del Maggior Consiglio of the Doge’s Palace and a Baptism now in the Cathedral of St John the Divine, New York) as being by the Haeredes Pauli (‘heirs of Paolo’). Veronese’s works, particularly his allegorical paintings, were to be of great importance for later artists throughout Europe. They were studied by Rubens and by Baroque ceiling decorators of the seventeenth century; they played a crucial role in the eighteenth-century revival of Venetian painting under Sebastiano Ricci and Giambattista Tiepolo; they influenced eighteenth-century French painters such as Le Moyne and Boucher; and in the nineteenth century their vibrant brushwork and radiant colour fascinated Delacroix.

Ajaccio. Musée Fesch.
Leda and the Swan. Canvas, 113 x 95.
There are famous earlier treatments of his highly erotic subject by Leonardo da Vinci, Michelangelo and Correggio, but Veronese's composition bears little relation to any of these. Leda is shown sitting naked on the side of her bed, and the swan (Jupiter in disguise) has jumped up onto her thighs and is kissing her lips with its beak. Veronese's Leda probably dates from towards the end of his career (around 1580-85). It is usually assumed that the original version was a painting ('Leda and the Swan, on a white bed, holding with her right hand under a purple curtain') recorded in the 1639 inventory of Charles I's collection at Hampton Court. Charles I had acquired the painting in 1634, when the Duke of Buckingham's widow exchanged it for a picture (Vision of Saint Peter) by Domenico Feti. It was sold by the Commonwealth for £6 in 1651, and later passed into the collection of the Duc d'Orléans, where it was engraved in 1786. The Fesch Leda is first definitely recorded only in the mid-nineteenth century, and it is uncertain whether it is the same painting as the Buckingham/Charles I/Orléans one. (The measurements match quite closely, however.) Pignatti and Pedrocco (L'Opera Completa (1995)), perhaps harshly, call the Fesch painting a studio work. Another version was destroyed at Dresden during the Second World War. 

Amsterdam. Rijksmuseum.
*Portrait of Daniele Barbaro. Canvas, 118 x 104.
Daniele Barbaro (1513-70), the remarkable Venetian humanist, polymath, musical theorist and patron of the arts, built the Villa Barbaro at Maser, which was designed by Palladio and decorated in fresco by Veronese. He wears the robes of the Patriarch of Aquileia. He holds his translation of Vitruvius’s De Architectura, which he had printed, with illustrations by Palladio, by Francesco Marcolini in 1556. Another copy of the book, open at a page dealing with clocks, rests against the base of the column. The portrait was first recorded in 1726 in the collection of Samuele Hensler of Basle. By 1929 it was in the hands of the connoisseur Otto Lanz in Amsterdam, who wrote about it in an article in the Burlington Magazine, and it was acquired by the Rijksmuseum in 1952. In the early 2000s, when the museum was undergoing a ten-year renovation, the portrait was on loan to the National Gallery in London.
Holy Family. Canvas, 61 x 63.
Damaged, but often accepted as an authentic early work, painted in the late 1540s or early 1550s. It is probably recorded in the 1662 inventory of the celebrated collection of Cristoforo and Gian Francesco Muselli at Verona. Acquired by the Amsterdam sugar magnate Edwin vom Rath in 1927 from a Munich dealer. Vom Rath bequeathed his art collection, housed in his huge family mansion on the Herengracht, to the Rijksmuseum in 1940. The museum currently calls it a studio work.

Augsburg. Städtische Kuntsammlungen.
*Venus and Adonis. Canvas, 123 x 174.
The subject – popular in literature as well as art – is from Ovid's Metamorphoses (Book X). Venus begs her lover Adonis not to go hunting (where he will be killed by a boar). She hides his hunting horn behind her back and grasps the leash of his hounds, while Cupid tries to help her restrain the dogs. Veronese's picture was doubtless influenced, in a general way, by Titian’s famous poesia of Venus and Adonis painted for Philip II in 1553-54. Like many of Veronese’s mythologies, it probably dates from the 1560s. There are other, later, versions by Veronese of the subject at Madrid, Seattle, Stockholm and Vienna. Acquired by the museum at Darmstadt in 1809.

Austin (Texas). Blanton Museum of Arts.
Head of St Michael. Canvas, 41 x 32.
Recently identified as a fragment of Veronese’s Petrobelli Altarpiece, painted in about 1563 for the church of San Francesco at Lendinara (see Xavier Salomon in the January 2009 Burlington Magazine). It belonged to the figure of St Michael standing in the centre. The rest of the figure was probably destroyed when the altarpiece was cut up in about 1788. Other fragments of the altarpiece are in Ottawa (the arched top half with the Dead Christ), Edinburgh (the left-hand portion with St Anthony Abbot and Donor) and Dulwich, London (the right-hand portion with St Jerome and Donor). The Head of St Michael was acquired by the art historian Wilhelm Suida by 1934 from an unknown source. The Suida-Manning collection of almost 250 paintings was acquired en bloc by the Blanton Museum in 1998. The four surviving fragments of the Petrobelli Altarpiece were reunited in 2009-10 for exhibitions at the Dulwich, Ottawa and Austin museums.
Annunciation. Canvas, 105 x 83.
This attractive picture is one of a number of small altarpieces of this subject by Veronese or his workshop. There are others, all different in composition, at Washington, Cleveland (Ohio) and Madrid (Thyssen-Bornemisza collection). Probably late (1580s). An attribution to Veronese's workshop is supported by technical analysis (infrared reflectography) revealing no difference between the underdrawing and the final execution. From the Suida-Manning collection.
Heads of Cherubs. Canvas, 36 x 39.
A fragment, attributed by the museum to ‘Veronese and workshop’. Also from the Suida-Manning collection.

Baltimore. Walters Art Gallery.
*Livia da Porto Thiene with Her Daughter. Canvas, 208 x 121.
This majestic full-length portrait was painted as a pendant to the portrait in Florence (Uffizi, ex-Contini Bonacossi collection) of Livia’s husband Conte Iseppo da Porto and their eldest son Leonida. (The Baltimore picture is 15 cm narrower but has been cut down.) Conte Giuseppe and Livia were married in 1542, and the portraits probably date from 1552. The little girl, looking out from behind her mother’s fur-lined silk gown, is often called Porzia but is probably the eldest daughter Deidamia (born in 1545). Livia seems to be pregnant, and the marten with a gilt head hanging over her right arm and attached to her girdle with a gold chain may be a charm to protect her in childbirth. Acquired by Henry Walters in the early 1900s from the collection of Paolo Paolini, Rome. Somewhat abraded and retouched. The strip of floor (some 15 cm. wide) at the bottom is a later addition. The portraits of Livia and her husband Iseppo were reunited in exhibitions held in London at the V & A in 2006-7 and at the National Gallery in 2013-14. 

Bari. Pinacoteca.
Madonna in Glory with SS. Catherine and Ursula and Donor. Canvas, 272 x 158.
The Virgin and Child appear in the heavens against a white cloth of honour held up by winged cherubs. St Catherine of Alexandria leans on her spiked wheel, St Ursula raises her red cross banner, and an unknown donor kneels in the bottom right corner. From Bari Cathedral; transferred to the museum in 1928. Usually – though not unanimously – accepted as an autograph early work. Stylistic affinities have been seen with the Giustiniani Altarpiece of around 1551 in San Francesco della Vigna at Venice. Doubts about the attribution may reflect the picture’s poor condition. Restored in 2013.

Bergamo. Accademia Carrara.
Charity of St Christina. Canvas, 120 x 137.
St Christina of Bolsena (an early Christian martyr but shown in sumptuous sixteenth-century costume) distributes bread to the needy with her right hand and holds a hammer in her other hand with which to smash pagan idols. The painting is from a cycle of nine canvases painted by Veronese's workshop in the 1580s for the Benedictine monastery church of Sant'Antonio Abate on the island of Torcello. Four of the other canvases are now in the museum at Torcello, two are at Stuttgart and two are lost. After Sant'Antonio was closed during the Napoleonic suppressions of monasteries, the Bergamo painting was sent to the Brera. It was acquired in 1836 by Guglielmo Lochis, who bequeathed his collection to the Accademia Carrara in 1859. The picture, classed by the museum as 'Veronese and workshop', may have been executed mainly by Veronese's son Carletto Caliari.  Veronese's own touch has sometimes been detected in the figure of St Christina.    

Berlin. Gemäldegalerie.
Dead Christ with Angels (no. 295). Canvas, 110 x 94.
The composition is related to that of the Ottawa Dead Christ with Angels – a fragment of an altarpiece thought to have been painted around 1563. The Berlin picture has sometimes been dated about 1573 on the evidence of a sheet of drawings in Stuttgart (which includes sketches both for a Pietà and for the altarpiece of the Madonna of the Rosary painted in 1573 for the church of San Pietro Martire on Murano). It has sometimes been considered a workshop product (eg. by Pignatti (1976), who thinks it was designed by Veronese but executed by Carletto Caliari in the late 1580s). Recorded, with an attribution to Veronese, in the 1621 post-mortem inventory of Cardinal Benedetto Giustiniani’s famous collection, housed in his palazzo on Piazza San Luigi dei Francesi, Rome. The Giustiniani collection was bought en bloc by the King of Prussia after its sale in Paris in 1812.

Birmingham. Barber Institute.
Visitation. Canvas, 272 x 153.
The scene is transported from ' a town in the hill country of Judah' (Luke's Gospel) to contemporary Venice, where the pregnant Virgin Mary and her pregnant cousin Elizabeth meet on a typical stone bridge over a canal. One of a group of works painted in about 1577-78 for the late Gothic convent church of San Giacomo at Murano, which was abandoned by the nuns in the eighteenth century and demolished early in the nineteenth century. The main altarpiece and two organ shutters were acquired by Lord Exeter, and are still at Burghley House, Stamford. The Visitation was bought by Lord Clive from James Wright, the British Minister at Venice, in 1771 and passed by descent to the Earl of Powis. It was acquired by the Barber Institute in 1953. The other side altarpiece, a Resurrection, was in the collection of the Earl of Lonsdale at Lowther Castle, and now belongs to the Chelsea and Westminster Hospital in London.

Bordeaux. Musée des Beaux-Arts.
Holy Family with Female Saint (or Donor). Canvas, 77 x 96.
A young woman, possibly St Dorothy, her fair hair braided and dressed with pearls, presents the Christ Child with a basket of flowers and fruit. The grape vine at the right edge may allude to the Eucharist. Probably a fairly early work, executed with studio assistance (Benedetto Caliari?)). Recorded at Versailles in 1695. At Bordeaux since 1803.
Holy Family with Infant St John. Canvas, 105 x 92.
This dark-toned painting is probably a late product of Veronese’s workshop; some critics have seen the hand of Benedetto Caliari. One of 101 paintings sold by the banker Everhard Jabach to Louis XIV in 1671. Formerly at Versailles, it was sent to Bordeaux in 1803.

Boston. Gardner Museum.
Coronation of Hebe. Canvas, 387 x 387.
Hebe, personification of the beauty of youth, is crowned with flowers by a little cupid and handed a cup by Mercury. Other gods include Jupiter and Juno (under the eagle in the top left corner), Venus (flaunting herself to their left), Diana (next to Mercury), Minerva and armoured Mars (towards the centre of the canvas), Neptune (with his trident at the right edge) and Hercules (with his club towards the bottom). From the ceiling of a room in the Palazzo Della Torre at Udine. Sold in 1692, and taken to the house of Pietro Businello alla Croce at Venice. Later, probably in the early nineteenth century, it entered the Manfrin Gallery, from which it was sold in 1896. Bought by Mrs Gardner in 1899 from a Parisian dealer. It has been set into a gilded and painted ceiling in the ‘Veronese Room’ at Fenway Court. Late (probably 1580s). Sometimes called a studio work (eg. by Philip Hendy in his 1974 museum catalogue), but classed as autograph in Pignatti and Pedrocco’s 1995 monograph. A thorough restoration, carried out in situ, was completed in 2001.

Boston. Museum of Fine Arts.
Four Mythological Scenes. Canvas, 26/27 x 101.
These four long, narrow canvases – representing Atalanta and Meleanger, Actaeon and Diana, Jupiter and a Nude and Olympus – may have decorated wood panelling, a chest or piece of furniture, but seem more likely to have formed a frieze beneath the cornice of a room. They probably date from the 1560s. Recorded in 1658 in the Palazzo Gaggi at Genoa, where they remained until the early nineteenth century. By 1902 they had entered the Holford collection at Dorchester House, Park Lane. They were sold at Christie's in 1927, and acquired in 1930 by Edward Jackson Holmes, Director of the Boston Museum, from the famous Italian dealer Alessandro Contini Bonacossi. Gifted by Holmes's widow to the musem in 1960. A fifth canvas represents the Rape of Europa. It is last recorded in a private collection in Milan.
Dead Christ supported by Angels. Canvas, 98 x 71.
A smaller variant of the superb Pietà in the Hermitage at St Petersburg, a second angel replacing the Virgin behind Christ. Too small for a church altarpiece, it was presumably intended for a private house. Ridolfi (1648) mentions two pictures of the dead Christ with angels – one belonging to a ‘signor dottor Curtoni’ and the other to the Marchese Giustiniani. However, the proven history of the Boston picture goes back only to a private collection in Italy, whence it came to Durlacher Bros (New York), who sold it to the museum in 1930 for $16,000. Opinion has been divided over whether it should be classed as autograph or as a studio work

Brescia. Sant'Afra in Sant’Eufemia. First altar, left.
Martyrdom of St Afra. Canvas, 220 x 155.
St Afra was a semi-legendary early Christian martyr burnt or beheaded at Augsburg during the Diocletian persecution. She is depicted on a scaffold, surrounded by a crowd of soldiers and onlookers, against a cityscape of Brescia. She is restrained by the executioner and his black servant, and gazes upwards as two child angels descend from Heaven with a wreath and martyr's palm. The headless corses from several previous executions lie beneath the scaffold. The severed head at the bottom edge of the picture is traditionally said to be a self-portrait. The picture hung originally over the high altar of the old church of Sant’Afra at Brescia (rebuilt since the Second World War and now called Sant’Angela Merici). Though signed ‘PAOLO CALIARI’, the altarpiece is generally considered to be largely or entirely a product of Veronese’s workshop. It is unreliably said to have been painted in 1566 for the Martinengo family. The picture has considerable similarities with the Martyrdom of St Giustina, painted in 1575 for the church of Santa Giustina at Padua, and Veronese's workshop may have reused some of the drawings or cartoons prepared for that altarpiece.

Brunswick. Herzog Anton Ulrich Museum.
*Baptism of Christ. Canvas, 142 x 208.
Veronese (and his studio) painted this subject at least a dozen times. There are divided views about this version. For Rearwick (1988), it is an autograph early work, close in style to the Bevilacqua-Lazise Altarpiece of about 1548 at Verona. But for Cocke (2001), it is a product of Veronese's late workshop. The horizontal canvas probably occupied the sidewall of a chapel, to be viewed from the left. Acquired by Anton Ulrich, Duke of Brunswick, at the 1713 sale at Amsterdam of the estate of William III of England (William of Orange). The eighty-year-old Duke attended the sale in person in his wheelchair. 

Brussels. Musée Royaux des Beaux-Arts.
Holy Family with Saints. Canvas, 279 x 226.
One female saint has been identified as Catherine and the other variously as Elizabeth, Anne or Teresa. Enlarged at both top and bottom. The picture may have been designed by Veronese but executed mainly by a workshop collaborator (Benedetto Caliari?). It has been catalogued by the museum as a work of Carletto Caliari. Acquired by Louis XIV from Jabach in 1671. Allocated to Brussels (a French department under the Empire) in 1811.

Budapest. Fine Arts Museum.
Hercules and Neptune before Venice. Canvas, 141 x 141.
Venice, regally attired and accompanied by the lion of St Mark, is enthroned in triumph above Hercules (standing with a club) and Neptune (sitting on his haunches with a trident). This octagonal canvas fits Ridolfi’s description of the centrepiece of the ceiling of the Sala del Magistrato delle Legne (Magistracy of Firewood) in the Doge’s Palace at Venice. It was probably painted shortly after the fire of 1574. The room was pulled down in 1807 to make room for a garden to the Royal Palace. The canvas was given to the National Gallery of Budapest by Archbishop János Lázló Pyrker in 1836. It is badly abraded in parts, and has sometimes even been considered a copy.
*Portrait of a Man. Canvas, 120 x 102.
The young man, richly dressed in black satin lined with lynx fur, poses before an ivy-clad wall, a looped red curtain and, to the left, a landscape with ruins (probably the Baths of Caracalla in Rome copied from an engraving). This splendid portrait has much in common with the Portrait of a Gentleman in a Fur Cloak in the Pitti Palace and may date from the 1550s. Acquired in 1912 from the collection of Count János Pálffy, where it was attributed to Moroni.
Crucifixion. Canvas, 149 x 90.
Once ascribed to Benedetto Caliari, but now usually accepted as a late work of Veronese himself, remarkable for its dramatic light effects. Acquired with the Esterházy collection in 1871.
Portrait of Agostino Barbarigo. Canvas, 60 x 48.
A smaller, bust-length version of the portrait at Cleveland (Ohio). It appears to have been executed quickly and the armour looks unfinished. It has been considered a workshop replica, and was attributed by the museum to Veronese's son Carletto Caliari. An alternative view is that it was painted from life by Veronese himself as a ricordo from which larger and more finished portraits – including that at Cleveland – were made. If from life, it would probably date from shortly before October 1571, when the sitter met a hero's death commanding a galley at the Battle of Lépanto. Veronese seems to have been close to Barbarigo, who was godfather to his son Gabriele (baptised at San Samuele on 7 September 1568).

Caen. Musée des Beaux-Arts.
*Temptation of Saint Anthony. Canvas, 198 x 151.
The temptations of St Anthony, an Egyptian hermit, have been depicted by many (mainly Northern European) artists, but Veronese's interpretation is dramatically original. The saint, lying helpless on the ground, is tormented by a beautiful seductress (who digs her talons into the palm of his hand) and a Hercules-like demon (who beats him with a horse's leg bone). The composition is strongly influenced by Roman Mannerism. The pose of the muscular devil is thought to derive from an engraving of Hercules after Rosso Fiorentino and that of the agonised saint from the figure of St Jerome in Parmigianino’s altarpiece of the Vision of St Jerome (National Gallery, London). One of a series of pictures commissioned for the side altars of Mantua Cathedral, which had been newly renovated in a Renaissance style by Giulio Romano. The patron was Cardinal Ercole Gonzaga, who ruled Mantua on behalf of his young nephews Francesco and Gugliemo. The other altarpieces were commissioned from different artists, including Domenico Brusasorci and Paolo Farinati (whose pictures remain in situ). Veronese’s canvas was completed by March 1553. It was removed from the cathedral by the French in 1797 and given to the City of Caen in 1801. It may have been cut down, particularly on the left.
Judith and Holofernes. Canvas, 245 x 269.
Judith, inside Holofernes' tent, has decapitated the Assyrian general and is about to give his head to her maid to put in her bag of meat (Book of Judith 13: 1-10). This large canvas is one of four paintings of heroic women seen by Ridolfi (1648) in the Casa Bonaldi in Venice. All four were acquired by Louis XIV from the German banker Everhard Jabach in 1662. Two of the others are now in the Louvre (Susanna and the Elders and Esther and Ahasuerus) and one is at Versailles (Eliezer and Rebecca). The Judith and Holofernes was given to the City of Caen in about 1800. It is not well preserved, and has sometimes been ascribed, in part at least, to Veronese’s workshop or to his brother Benedetto.
Christ in Glory with SS. Peter and Paul. Canvas, 96 x 70.
Christ, appearing in a blaze of light, is surrounded by putti (two holding his cross) and angels making music. St Peter, standing on a cloud, holds a huge pair of keys. St Paul, seated with an open book on his knee, is accompanied by a putto holding his sword. This is another of the pictures acquired by Louis XIV from Jabach. Sent to Caen in 1811 as a work of Veronese’s circle, and often ascribed to the workshop by modern critics. Classed, however, as an autograph very late work by Pignatti and Pedrocco (1995).

Cambridge. Fitzwilliam Museum.
*Mercury, Herse and Aglauros. Canvas, 232 x 173.
Signed on the plinth of the balustrade. The unusual subject is taken from Ovid’s Metamorphoses. Herse, daughter of a snake-tailed king of Attica called Cecrops, was loved by Hermes. Her jealous sister Aglauros (or Agraulus) tried to bar his way to her chamber and was turned by a touch of his wand into a statue of black stone. The golden female satyr squatting on the table (beside the viol, vase of flowers and bowl of fruit) probably symbolises lust, while the white flower on the floor to Herses’s left probably symbolises lost innocence. It has been suggested that Hermes (unusually depicted with a moustache) could be a portrait. One of several outstanding mythological pictures by Veronese that are recorded together in the 1621 inventory of Rudolph II’s collection at Prague. The others are in New York (Frick Collection and Metropolitan Museum) and Stockholm. The Stockholm Venus mourning Adonis, now cut down, was originally the same size as the Cambridge picture and may well have been painted as a pendant to it. Along with other pictures from the imperial collection plundered by the Swedes in 1648, the Mercury, Herse and Aglaurus passed from Queen Christina’s heirs into the Orléans collection, which was auctioned in London in 1798-99. Bequeathed to Cambridge University by Viscount Fitzwilliam in 1816.

Castelfranco. Duomo.
Time and Fame (350 x 168); Temperance (200 x 100); Justice (200 x 100).
These are fragments from the fresco decoration of the Villa Soranzo at Sant'Andrea oltre il Muson, near Treville and Castelfranco. The villa was designed by Sanmicheli and decorated (according to Vasari) by the young Veronese, Battista Zelotti and Anselmo Canneri (or Canera). The fresco fragments were among those removed by the last owner Filippo Balbi in 1818, just before the villa was destroyed. Of the 118 fragments reportedly detached by Balbi, ten were given to the Cathedral and at least forty were sold on the British market.
Only around a dozen fragments are now known to survive. One in the Seminario at Venice is signed by Veronese ('Paulus') and bears the date 1551. Three other large fragments came to light in 1962, when they were sold at Christie's, London. One of these – representing Minerva between Geometry and Arithmetic – was bought in 2003 by the Regione Veneto (regional government) and placed in the Palazzo Balbi at Venice. Some half-dozen smaller fragments, showing putti on a balustrade, are also known (four at Castelfranco and one in the museum at Vicenza).
The surviving fragments, traditionally, have all been attributed to Veronese alone, ignoring his known collaborators. The division of hands is not obvious, but recent opinion reattributes the fresco of Temperance to Zelotti and sometimes sees his hand in the other Castelfranco fragments as well.

Chatsworth House (Derbyshire). Devonshire Collection.
Adoration of the Magi. Canvas, 138 x 209.
A scaled-down near replica, from Veronese's workshop, of the picture painted for the Cuccina family in the early 1570s and now at Dresden. It has been identified as the Adoration of the Magi mentioned by Ridolfi (1646) in Vincenzo Grimani's palazzo (today the Ca' Vendramin Calergi) on the Grand Canal. It was paired with a Christ and the Centurion, which has been identified as the painting now in the Nelson-Atkins Museum at Kansas City. It has been argued recently (by Claudia Terribile in the June 2018 issue of Ricche Minere) that the two canvases were painted for Matteo Calergi, who was a wealthy landowner from the Venetian colony of Candia (Crete). Matteo (died 1572) was the father of Vettor Calergi, who bought the palazzo in 1589, and grandfather of Marina Calergi, who married Vincenzo Grimani in 1608 The Adoration of the Magi has been at Chatsworth since 1722, when it was purchased for £367 at the Duke of Portland's sale. It hangs in the State Bedchamber.

Chicago. Art Institute.
St Jerome in the Wilderness. Canvas, 135 x 177.
One of several paintings of this subject by Veronese (and his workshop). There are others, all different in design, in the galleries of Venice and Washington and in the church of San Pietro Martire on the island of Murano. The Chicago painting may have been produced in Veronese’s workshop in the late 1580s. (The landscape has been ascribed to Carletto Caliari.) Acquired in Italy by the Reverend John Sanford, it was sold at Christie’s in 1839 for 23 gns and remained in England until the Second World War. Bought by the Art Institute (from Knoedler of New York) in 1945.
Creation of Eve. Canvas, 81 x 103.
As Adam lies in a deep sleep, God gives Eve the spirit of life by making a sign on her forehead. The Garden of Eden is represented as a pastoral landscape with farm animals. The picture is considerably damaged; some areas, such as the trees in the middle distance, are largely reconstruction. Given to the Art Institute by Charles H. Worcester of Chicago in 1930. Its history is unknown before 1929, when it was sold by a London dealer. It may have formed part of a series of scenes from Genesis, like the series by Carletto Caliari in the Uffizi.

Cividale del Friuli. Museo Archeologio.
Madonna crowned by Angels; Saint Roch. Canvas, each 149 x 105.
From the church of San Giovanni in Xenodochio in Cividale. The two small altarpieces are very late works, commissioned on 26 March 1584 and paid for ten weeks later on 12 June. Veronese's fee (35 ducats) was low, and the works were probably executed entirely by his assistants. Badly restored in 1854 by the local painter Giuseppe Malignani.

Cleveland (Ohio). Museum of Art.
*Portrait of Agostino Barbarigo. Canvas, 102 x 104.
Agostino Barbarigo (b. 1516) was ambassador to Philip II of Spain, and in 1570 was appointed Provisioner General of the Venetian navy. He became a hero martyr after his death at the Battle of Lépanto in 1571. (Leading his galley against six Turkish ships, he took an arrow in his left eye and died of his wound two days later.) The posthumous portrait shows him in splendid armour holding the fatal arrow in his left hand. It has been cut down at the bottom, and is likely originally have been three-quarter or even full-length. It has also been cropped on the right side, and – like similar commemorative portraits of Venetian admirals painted after Lépanto – may have included a seascape with a naval battle. First recorded in 1856 in the Manfrin collection, Venice (where the sitter was believed to be Onfré Giustiniani, commander of the ship that brought news of the victory). Subsequently in the Miethke collection (Vienna), it was acquired by the Cleveland Museum in 1928 from the Italian painter and set designer Italico Brass. A good copy at Washington shows Agostino Barbarigo holding his baton of command rather than an arrow. Another version (bust-length only) at Budapest is more rapidly and boldly executed, and may have been a study from life used for the Cleveland portrait.
Annunciation. Canvas, 150 x 133.
Probably a comparatively late work of Veronese and his workshop (around 1580). The motif of the Angel Gabriel descending on a cloud is repeated in an Annunciation by Veronese (or his workshop) in the Thyssen-Bornesmisza Collection, Madrid. There is no record of the painting before 1913, when it was acquired by the German banker and entrepreneur Leopold Koppel from the Venetian dealer Carlo Balboni. Koppel's picture collection was inherited by his son, Albert Koppel, who emigrated to Canada. The Annunciation was acquired by the Cleveland museum in 1950 from the dealers Rosenberg & Stiebel of New York. Restoration in 2011 removed several layers of discoloured varnish and replaced old retouchings. 

Denver. Art Museum.
Portrait of Vincenzo Scamozzi. Canvas, 94 x 82.
Born and raised in Vicenza, Vincenzo Scamozzi (1548-1616) is often described as the last great architect of the sixteenth century; he is best known as the designer of the Procuratie Nuove in St Mark’s Square. He is portrayed half-length, against a plain olive-green background, holding a wooden model of a Corinthian capital, the proportions of which he indicates with a pair of compasses. He seems around forty, suggesting that the portrait was painted at the very end of Veronese’s life. Little is known of the history of the portrait, which came from the collection of Charles Bayly. Once ascribed to Titian, it was published as a work of Veronese in 1961 (by Wilhelm Suida, in Arte Veneta, who thought it was a pendant to the Portrait of a Sculptor in the Metropolitan Museum, New York). The sitter was previously identified with the Bolognese architect Girolamo da Vignola (1507-73). It is only recently, following research for a 2003-4 exhibition at Vicenza, that he has been identified with Scamozzi.

Detroit. Institute of Arts.
Allegory of Painting. Canvas, 28 x 16.
The colourfully dressed young muse stands in a niche with brushes in one hand and a palette and canvas in the other. This small painting could have formed part of the decoration of a piece of furniture, such as a cassone, or it could have been a preparatory sketch (bozzetto) for a larger painting or fresco. Two other canvases, identical in size and style, representing Diana and Minerva, are in the Hermitage, St Petersburg, and the Pushkin Museum, Moscow. It is conceivable that the three paintings formed part of the same cycle as the four oblong mythological canvases in the Boston Fine Arts Museum, which are similar in height and style, and have the same recorded provenance as the Allegory of Painting. Such a cycle could have been arranged around a room as an ornamental frieze. LIke the Boston canvases, the Allegory of Painting is recorded in 1658 in the Palazzo Gaggi at Genoa and was sold with the Holford collection at Christie's in 1927. It was bought from Agnew’s in 1928 by Mr and Mrs Edgar Whitcomb, who donated it to the Institute in 1936.

Dijon. Musée des Beaux-Arts.
*Madonna in Glory with Four Saints. Canvas, 337 x 219.
The Virgin and Child, on a cloud, are surrounded by angels, one of whom plays a bass viol and another a rebec. Two boy angels hold the crosier of St Anthony Abbot, who wears a richly brocaded bishop's cope and gazes up at the apparition. His pig is visible in the bottom left corner. St Paul the Hermit, seated, wears his garment made from palm leaves. St Paul the Apostle stands with his sword and a book, and St Peter sits with his gold and silver keys in his right hand. The picture – one of Veronese's last documented works – was commissioned as an altarpiece by the Confraternita di Sant’Antonio Abate at Pesaro. The fee of 125 scudi was paid on 31 March 1586. Inscribed ‘Pauli Caleari’ on the plinth, bottom right. The execution is sometimes ascribed largely or wholly to Veronese’s son Carletto, but Cocke (2001) accepts the picture as autograph. Plundered by the French in 1799 and sent to Dijon in 1809.
Finding of Moses. Canvas, 118 x 174.
Similar in composition (though not in dimensions) to paintings by Veronese of this subject in Dresden and Lyon. Usually ascribed to the artist’s studio or (specifically) Benedetto Caliari. Acquired by Louis XIV from the Duchesse de Créquy (whose husband had bought it from the painter Pierre Mignard). At Dijon since 1812.
Assumption of Mary Magdalene. Canvas, 166 x 102.
The subject has sometimes been taken to be the Assumption of the Virgin and the canvas presumed to be a fragment from the upper part of a large altarpiece. However, the picture has been plausibly identified with the processional banner (gonfonetto de processione) mentioned by Ridolfi (1648) as painted for the church of Santa Maria Maddalena at Treviso. Veronese's workshop also painted for the church an altarpiece, which is still in situ and probably dates from 1578. Opinion has been divided over whether the Dijon canvas should be classed an autograph or studio work. Probably acquired by Louis XIV from the German banker Everhard Jabach. At Dijon since 1803.

Dossena (20 km north of Bergamo). Parish church (San Giovanni Battista).
Beheading of John the Baptist. Canvas, 225 x 135.
Salome watches as John the Baptist, hands tied, is seized by a muscular executioner. A boy angel descends with two wreaths, while in the background, viewed through the Renaissance archway, the Baptist's head is delivered to Herodias on a platter. The contract survives for the picture, which was commissioned in 1575 for forty ducats. In poor condition.  

Douai. Musée de la Chartreuse.
*Portrait of a Woman. Canvas, 106 x 87.
This exquisite (but damaged) portrait is close in style and format to the so-called Bella Nani in the Louvre, and may date from the late 1550s or early 1560s. The fair-haired young woman wears a sumptuous dress of burgundy velvet (front-laced with a low square neckline, cutwork sleeves and wide lace cuffs) and a pearl necklace with a great gold pendant. Formerly in the collection of the Duc de Lyons, and sold to the Douai Museum in 1871 by Mme Wagner. It was catalogued as a work of Paris Bordone until 1924, when Baron von Hadeln re-attributed it to Veronese in an article in the Burlington Magazine.

Dresden. Gemäldegalerie.
*Madonna with the Cuccina Family. Canvas, 167 x 416.
Alvise Cuccina, a wealthy merchant from Bergamo, kneels in the midst of his large family – his wife Zanetta (who takes centre stage), daughter Marietta, seven young sons (one climbing against a porphyry column, another playing with a dog and the youngest in the arms of a nursemaid at the right edge), a recently deceased brother Antonio (in the red doublet) and another brother Zuanantonio. They are introduced by Faith, Hope and Charity to the Madonna and Child, enthroned on the left with John the Baptist and St Jerome. The family palace on the Grand Canal is shown in the right background. (The palazzo, near the Rialto and now called the Palazzo Papadopoli, was refurbished in a neoclassical style in the 1870s and was converted into a luxury hotel in 2013.) As the youngest child, Zuambattista, was born in 1570 and Antonio died in 1572, the picture was probably painted in the early 1570s. It is one of four large devotional pictures painted by Veronese (and his workshop) for the Cuccina family. In 1645, shortly after Charles I of England had tried unsuccessfully to buy them, they were acquired from the family by Duke Francesco I d’Este for his collection in Modena. In 1745, when Francesco III d’Este fell into grave financial difficulties, they were sold with nearly one hundred other paintings to Elector Frederick Augustus II of Saxony and taken to Dresden.
*Adoration of Magi; Wedding at Cana; Way to Calvary.
These three pictures were also painted for the portego of the Cuccina family’s new palazzo, and probably date from shortly after 1570. To judge from their dimensions, the Adoration of the Magi and the Wedding at Cana (each 206/7 x 455/7) were hung opposite each other, and the slightly smaller Way to Calvary (167 x 414) was hung opposite the Madonna with the Cuccina Family. The four canvases were cleaned and overpainted in 1746-54 and on several subsequent occasions in the eighteenth and nineteenth centuries. They were thoroughly restored in 2013-17, during the seven-year closure of the gallery. Flaking paint was stabilised, and heavily yellowed varnish and old repaint (particularly thick on the skies) was removed. However, some pigments have irreversibly dulled, darkened and discoloured, the greens tending to brown and the blues to grey. 
*Resurrection of Christ. Canvas, 136 x 104.
Christ, arms stretched out in his attitude on the cross, hovers above his tomb in an aureole of divine light. The Roman guards react with terror, using their cloaks, hands and a shield to protect their eyes from the glare. In the right background, the Three Marys approach the empty tomb guarded by an angel. The composition seems to have been influenced by Titian’s altarpiece of 1522 in SS. Nazaro e Celso, Brescia. Probably painted in the late 1560s or early 1570s. There are later versions of this subject by Veronese (and his workshop) in the Pushkin Museum in Moscow, the Hermitage at St Petersburg, the Chelsea and Westminster Hospital in London and the church of San Francesco della Vigna in Venice. The Dresden picture is said to have been in the Imperial collection at Vienna. It was acquired in 1741 by Elector Frederick Augustus II.
*Finding of Moses. Canvas, 178 x 277.
The picture depicts the moment in the Old Testament story when the baby Moses, having been set afloat on the River Nile to escape the massacre of the Jewish children at the hands of the Pharaoh, was discovered among the bulrushes by the Pharaoh's daughter (Exodus 2: 5-6). The Finding of Moses was a favourite subject of Veronese and his studio. There are other versions at Madrid, Washington, Lyon, Dijon, Liverpool, Turin and elsewhere. Tiepolo’s painting of this subject at Edinburgh is derived from the Dresden version. Acquired (along with the Christ and the Centurion) in 1747 from the Casa Grimani de’ Servi at Venice.
Christ and the Centurion. Canvas, 178 x 275.
A companion picture of the Finding of Moses. A later variant of Veronese's celebrated painting at the Prado. Etched as a work of Veronese by Pietro Monaco in 1743, but now usually considered to have been executed largely by his studio (notably his brother Benedetto).
Portrait of a Man in Fur (Girolamo Contarini or Matteo Calergi?). Canvas, 132 x 102.
The identity of the sitter – an ageing man, with greying beard, richly dressed in a cloak trimmed with lynx fur – is uncertain. He is called Alessandro Contarini in old inventories but was identified some years ago (by Thomas Martin in the June 1993 issue of Apollo) as the procurator Girolamo Contarini. Claudia Terribile (July 2019 Ricche Minere) rejects the assumption that the sitter was a Contarini and identifies him as the wealthy Veneto-Cretan nobleman Matteo Calergi (1523-72). The imposing three-quarter length portrait probably dates from the 1560s. It was sold to the Dresden Gallery by Ventura Rossi, who had acquired it in 1744 from the Casa Grimani-Calergi (now Ca’ Vendramin Calergi) in Venice. A portrait at Philadelphia depicts the same sitter wearing armour and posed against a seascape. 
Supper at Emmaus. Canvas, 120 x 181.
A variant of the middle part of the famous Supper at Emmaus in the Louvre. Among the pictures sold by Francesco III d’Este in 1745 to Elector Frederick Augustus II of Saxony. There is another, much smaller version in the Boymanns-van Beuningen Museum at Rotterdam.
Good Samaritan. Canvas, 167 x 253.
Another of the pictures from the Este collection at Modena. It is a very late work, unusually dark in tone and with a dramatic mountain landscape of trees and rocks. The famous parable, from the Gospel of Luke (10: 29-37), was illustrated several times by Veronese's contemporary Jacopo Bassano but the subject is otherwise rare in Renaissance art. The Samaritan pours oil and wine on the wounds of the man who had fallen among thieves, while the priest and the Levite hurry away along the rugged road.
Rape of Europa. Canvas, 321 x 289.
This huge canvas, now attributed to Veronese's workshop, was one of twenty-one artworks acquired in Venice in 1743-46 by Count Francesco Algarotti for Friedrich August II. It is probably the painting of this subject, of similarly large dimensions, recommended in a letter of 13 March 1666 by Paolo del Sera to Leopoldo de' Medici. Del Sera claimed the painting ('the sweetest work created by that famous brush') was worth the enormous sum of 3,000 ducats. Restored after the 2002 Dresden flood.

Dublin. National Gallery of Ireland.
St Philip and St James the Less. Canvas, 204 x 156.
St James is seated; the fuller's club with which he was martyred rests on the ground beside him. St Philip stands holding the cross on which he was crucified. The picture is of uncertain provenance. It has been identified with a painting seen by Ridolfi (1648) on the altar of a church in Lecce, in the heel of Italy. It has also been identified with a picture recorded (1653) in the Duke of Buckingham's collection. Probably executed largely by Veronese’s studio (Benedetto Caliari?). Acquired at Christie’s in 1889.

Edinburgh. National Gallery of Scotland.
St Anthony Abbot and a Donor (Antonio Petrobelli). Canvas, 199 x 118.
One of four surviving fragments of an altarpiece – the others are in Dulwich, Ottawa and Austin (Texas) – that was painted in about 1563 for the church of San Francesco in Lendinara (a small town near Rovigo). The picture was commissioned by the cousins Antonio and Girolamo Petrobelli, and the Edinburgh fragment shows Antonio with his name saint. The fragment was cut from the lower left side. The central figure of St Michael is lost apart from the head (now in Austin); his right arm, spear and wing were revealed in the upper right of the Edinburgh fragment in 1958 when the canvas was cleaned. Formerly (like the Ottawa fragment) in the Duke of Sutherland’s collection. Bought by the gallery in 1913.
Mars and Venus. Canvas, 165 x 127.
The armoured Mars takes Venus, naked except for some sumptuous drapery, on his knee. She soothes Cupid, who is startled by a lively little spaniel (possibly a symbol of fidelity). A comparatively late work (late 1570s or 1580s), produced with studio assistance. The surface is somewhat worn and the background has darkened. There is a workshop variant in the Musée Condé at Chantilly. The history of the Edinburgh picture has been traced back with certainty only to 1761, when the painting was in the collection of Sampson Gideon at Belvedere House in Kent – whence it was purchased by the Royal Institution in 1859. However, Charles I is known to have owned a Mars and Venus by Veronese (which he probably acquired in Spain, when he visited the country as Prince of Wales in 1623 to seek the hand of the Spanish Infanta). That painting was sold by the Commonwealth in 1650 to Jan Baptist Gaspars, a Flemish artist in Peter Lely’s workshop.

Florence. Uffizi.
*Holy Family with St Catherine. Canvas, 86 x 122.
The imposing blond female saint with a martyr’s palm was formerly identified as Barbara. Carlo Ridolfi saw this picture in 1648 in the house of the Counts Widmann, rich merchants from Carinthia (southern Austria) whose palazzo was near San Canciano. Shortly afterwards, it was bought by Paolo del Sera, who resold it in 1654 to Cardinal Leopoldo de’ Medici. It probably dates from the 1560s. The original light background, long concealed by dark repaint, was revealed by restoration in 1988.
*Martyrdom of St Giustina. Canvas, 103 x 113.
In the left background, the saint’s coach is stopped on a bridge by Maximian’s soldiers, who bring her before the emperor to be stabbed to death. The two spectators on the right have been identified as posthumous portraits of Agostino and Andrea Barbarigo, who were both killed in the Battle of Lépanto in October 1571. One of several pictures of this subject by Veronese, his studio or school. These include a large altarpiece in the church of Santa Giustina at Padua, a painting formerly in the abbey of Santa Giustina in the same city and now in the gallery there, and a partial copy, once considered autograph but now attributed to Carletto Caliari, in Pavlov Castle in St Petersburg. The Uffizi version is first recorded in 1632 in the collection of Canonici di Ferrara and was bought by Leopoldo de’ Medici in about 1654 from Paolo del Sera.
*Annunciation. Canvas, 143 x 291.
This large canvas was once often ascribed to Veronese's close contemporary and collaborator Giovanni Battista Zelotti, but is now generally accepted as an early work of Veronese (mid-1550s?). It is perhaps the earliest painting of this subject by Veronese or his studio; there are others at Venice (Accademia and church of Santi Giovanni e Paolo), Washington (National Gallery of Art), Madrid (Escorial and Thyssen-Bornemisza Collection) and Cleveland (Ohio). Yet another of the pictures bought by Leopoldo de’ Medici from Paolo del Sera. Its patron and original location are unknown.
*Venus and Mercury presenting Eros and Anteros to Jupiter. Canvas, 150 x 243.
The subject is very unusual. The enthroned Jupiter is identified by his eagle, though only his legs are visible. Sometimes associated with a picture (‘Venus … after giving birth to Anteros shows him to Cupid held by Mercury’) by Veronese noted by Ridolfi (1648) in the house of Giambattista Sanudo in Venice; but that version also had ‘the Graces in attendance’. Probably one of Veronese’s earliest mythological canvases (early 1560s?). Acquired by Conte Alessandro Contini Bonacossi from an English private collection. Sold to Hermann Goering and taken to Germany during the Second World War, but recovered in 1953.
*Conte Iseppo da Porto and His Son. Canvas, 207 x 137.
Conte Iseppo (or Giuseppe) da Porto was one of the richest men in Vicenza. He built the Palazzo Iseppo da Porto (no. 21 on the Contrà Porti), which was designed by Palladio and decorated by Zelotti, Brusasorci, Veronese and others. The little boy, hanging onto Iseppo’s right arm, is often called Adriano but is probably his eldest son Leonida (born in 1543). There is a pendant to this splendid full-length portrait at Baltimore, which shows Iseppo’s wife Livia and their eldest daughter Deidamia. The portraits were probably painted in about 1552. That date is inscribed on a derivative anonymous portrait of Iseppo in the Castello di Thiene (near Vicenza). It is also the year in which Iseppo seems to have moved into his new palazzo. The portraits were probably placed so the figures would appear to be standing in niches on either side of a window. Iseppo’s portrait is first recorded only in 1913, when it was in the Sedelmeyer Gallery in Paris. Acquired by Conte Alessandro Contini Bonacossi in 1924.
Virgin enthroned with Saints and Donors. Paper (laid down on canvas), 50 x 36.
This highly finished small coloured oil sketch is a reduced version of the Bevilacqua-Lazise Altarpiece, which was painted for the church of San Fermo Maggiore at Verona and is now in the Castelvecchio Museum there. The sketch is considered either a preparatory work (bozzetto) executed by Veronese himself or a later copy made by his workshop or an imitator. If the former, the sketch would be one of Veronese’s earliest surviving works (about 1546). The features of the donors in the sketch seem to be different from those in the altarpiece. Acquired by Cardinal Leopoldo de’ Medici in 1669 from Paolo del Sera, who may have got it from Veronese’s heirs. Transferred to the Uffizi in 1773 from the Medici villa at Poggio a Caiano.
Venus with a Satyr. Canvas, 154 x 117.
A painting of this subject (‘in which there is a Venus, who jokes with a satyr, and across there is a Cupid sleeping’) was seen in Veronese’s studio by Maximillian II’s ambassador, Von Dornberg, who mentioned it in a letter of 31 March 1571. The same picture, or one like it, was recorded by Ridolfi (1648) in the possession of Veronese’s nephew, Giuseppe Caliari. The Uffizi painting is from the Contini Bonacossi collection. (It was sold to Hermann Goering in 1941, but recovered by Conte Alessandro after the War.) It may be a studio copy. Another version, deemed superior by some critics, was formerly in the Koetser Gallery in Zurich and was sold at Sotheby’s in 1996.

Florence. Pitti.
*Gentleman in a Fur Cloak. Canvas, 140 x 97.
This magnificent portrait, of a grey-bearded man wearing a black robe lined with snow-leopard fur, probably dates from about 1560. It was thought for a long time to be a portrait of Daniele Barbaro. This identification was abandoned when the portrait in Amsterdam of Barbaro as Patriarch of Aquileia was discovered. Bought in 1659 by Cardinal Leopoldo de’ Medici from Paolo del Sera for 200 ducats.
Man with Folded Hands. Canvas, 100 x 87.
This sober portrait, unusually dark-toned for Veronese, shows a seated man leaning to the left and joining his hands on the arm of his chair. It is another of the pictures bought by Leopoldo de’ Medici in 1659 from Paolo del Sera, who claimed to have acquired it from ‘a gentleman friend of mine who had it in a villa’. It may date from the early 1570s.
Baptism of Christ. Canvas, 196 x 133.
Once classed as only partly autograph (eg. by Fiocco in his 1934 monograph and Berenson in his 1957 Lists), but considered more highly since a restoration in 1974. The picture is related by Cocke (2001) to a drawing on the back of a letter dated 4 February 1588. If the connection with the drawing is correct, Veronese would have been working on the picture only weeks before his death on 19 April 1588. The picture's provenance has been subject to some confusion. The painting used to be identified with one (listed in an inventory of 1688) that is said to have come from Ancona. But it has been more recently identified with an altarpiece noted by Ridolfi (1646) in San Giovanni in Malta (San Giovanni Battista alle Navi), a church in Padua administered by the Knights of Malta. That picture was transferred in the eighteenth century to the Knights' other church, Santa Maria Iconia, and sent thence to Florence in 1816 by the Austrian government.   
St Benedict and Other Saints. Canvas, 195 x 135.
Benedict stands between his pupils Maurus and Placid, with his sister Scholastica and other nuns kneeling. In the heavens, the mystical marriage of St Catherine. From the church of Santa Caterina di Mazzorbo in Venice, where it was seen by Ridolfi in 1648. Acquired for Grand Prince Ferdinando by Niccolò Cassano in 1699. Generally regarded as a workshop picture, with Veronese perhaps contributing to the painting of the major figures.
Moses and the Burning Bush. Canvas, 141 x 226.
An angel appears to Moses, tending his sheep in the wilderness, who prays in wonder before the apparition of God in the flaming bush (Exodus 3: 1-5). To judge from its horizontal shape, the canvas was probably painted for the sidewall of a chapel, but its early history is unrecorded. It was previously in the Medici villa at Poggio a Caiano, where it was paired with a Moses striking the Rock (attributed to Giovanni Battista Zelotti). Classed in Pignatti's 1976 monograph with works wrongly attributed to Veronese, but accepted as an autograph very early work (around 1547) by Rearwick in the catalogues of the 1988 Veronese exhibitions at Venice and Washington.   

Geneva. Musée d’Arte et d’Histoire.
Entombment. Canvas, 92 x 133.
Once at Versailles; given by Napoleon to the city of Geneva in 1804. Probably comparatively late (mid-1570s). The execution has sometimes been ascribed partly or mainly to Benedetto Caliari. Considerably damaged, with losses of paint widespread over most of the picture. A restoration in 2011, the first since 1947, removed discoloured varnish and replaced the numerous old retouchings. 

Genoa. Palazzo Bianco.
Crucifixion. Canvas, 326 x 197.
St John supports the fainting Virgin, and Mary Magdalene kneels with her hands on the cross. Gathering storm clouds represent the 'darkness all over the earth' that descended when Christ died (Luke 23: 44). A late altarpiece (signed) from the Dominican church of Santi Giacomo e Filippo at Genoa. The monastery was closed in 1855 and the picture has been exhibited at the Palazzo Bianco since 1892. The picture is now rather dark; an old copy (Galleria Borghese, Rome) is considerably lighter in tone.
Susannah and the Elders. Canvas, 111 x 145.
The virtuous Susannah, bathing in her husband's garden, is propositioned by the two lustful elders, who threaten to accuse her of adultery if she did not sleep with them. The picture is probably comparatively late (late 1570s or early 1580s?). It was once in England, where it was acquired by the Spanish envoy, the Count of Fuensaldana, and shipped to Spain in 1651 as part of a large consignment of paintings (including eight attributed to Veronese) for Luis de Haro, Marquess of Carpio. The Susannah was paired with a Penitent Magdalen in the Wilderness, which is also now in the Doria collection at Genoa. (The Magdalen featured in the major Veronese exhibition held in London (2014) and Amsterdam (2015).) The Susannah is on long-term loan to the Palazzo Bianco.
Veronese (and his studio) painted several other versions of this subject. One in the Louvre is a larger variant of the Palazzo Bianco canvas. Other versions – in the Prado at Madrid, the Kunsthistorisches at Vienna and the art collection of the Bianca Carige at Genoa – are wholly different in composition.

Genoa. Palazzo Rosso.
Judith and Holofernes. Canvas, 195 x 176.
One of several versions of this subject by Veronese (or his studio); others are at Caen and Vienna. It may be a comparatively late work of around 1580, though a wide range of datings have been suggested over the years by different critics. It has been at Genoa since at least 1671, when it was seen by the Marquis de Seignelay in the Palazzo Balbi. A small oil sketch (modelletto) for the painting was in the Koetser Gallery, London.

Grenoble. Musée des Beaux-Arts.
Christ with the Widow and Sons of Zebedee. Canvas, 194 x 337.
The subject was formerly identified as Christ healing the Haemophilic. Sometimes identified with a painting described by Ridolfi (1648) and Boschini (1674) in the church of Santa Maria Maggiore at Venice, but perhaps more likely to be a picture seen by Bernini in 1665 in the house of the painter Roland Lefèbvre. Bought by Louis XIV in 1684 from the Marquis d’Hauterive. Formerly at Versailles, it was sent to Grenoble in 1811. The picture, which may date from the 1560s, appears to have been executed with considerable workshop assistance. A variant, smaller and with the composition reversed, was formerly in the Chrysler collection (sold in New York in 1998 for $717,500).
‘Noli Me Tangere’. Canvas, 67 x 95.
In the background, the Three Maries approach the empty tomb guarded by angels. Attributed either to Veronese or to a member of his workshop (such as Francesco Montemezzano). Probably late. In the eighteenth century, it passed through a number of notable aristocratic collections, including those of Principe di Carignano, Principe Conti and Conte Vaudreil. Acquired by the Grenoble museum in 1829 from a picture dealer.

Houston. Museum of Fine Arts.
Dead Christ with an Angel and a Monk. Canvas, 86 x 127.
The young monk, who meditates on Christ’s wounded hand, is presumably a portrait of the donor, who appears in the guise of St Francis with marks of the stigmata on his crossed hands. Sometimes considered an autograph very late work and sometimes a studio piece. Unrecorded before 1957, when it was in the David M. Koetser Gallery at Zurich. Later in the collection of Ernest Joresco of Chicago, it was acquired by the museum in 1979.
Mars held back by Peace and Love. Canvas, 102 x 73.
With its low viewpoint, this picture may have formed part of the frieze of the room of a Venetian palazzo. Nothing is known of its history before 1991, when it was shown in an exhibition at the Walpole Gallery in London. It may date from the late 1570s.

Houston. Sarah Campbell Blaffer Foundation.
*Saint Agnes (?). Canvas, 84 x 73.
It is uncertain whether this charming, well-preserved painting of a young woman caressing a lamb is a representation of Saint Agnes, a portrait of a lady (presumably named Agnese) in the guise of the saint, or an allegory of meekness or humility. It appears to be a late work, dating from around 1580. Previously owned by a Dr Emmons of Hamble in Hampshire, it seems not to have been referred to in print until 1957, when a photograph was reproduced in Berenson’s Venetian Painters. The picture is currently displayed in the Houston Museum of Fine Arts.

Jaromerice (Moravia in the Czech Republic). Château.
Portrait of Collaltino Collalto. Canvas, 134 x 110.
The young man wears a splendid suit of gold-trimmed armour. The breastplate is adorned with an antique cameo of a female head, and the helmet he holds in his left hand is surmounted by a naked putto and decorated with ostrich feathers. The coat-of-arms of the Collalto family appears on the left, and the identification of the sitter as Count Collaltino Collalto is plausible but not certain. (Collaltino's brother, Vinciguerra, would be another candidate.) Collaltino Collalto was a feudal lord with lands in and around Treviso. As a soldier of fortune, he offered his services to King Henry VIII of England and also fought for the French against the English at Boulogne. He mixed with the Venetian literati and had a love affair with the poetess Gaspare Stampa. The portrait might date from around 1550, when Collaltino (who was born in 1523) was in his middle or late twenties. It probably went to Moravia in the seventeenth century, when the Collalto family acquired estates there. It was discovered in the castle at Jaromerice in 1990 and published as an early work of Veronese in 1997 (by William Rearick in Artibus et Historiae). It remained comparatively little known until 2014, when it was loaned to the Veronese exhibition in Verona. One reviewer (Tom Nichols in the October 2014 Burlington Magazine) called it 'crudely painted' and queried the attribution. An alternative attribution has been made to Veronese's pupil Giovanni Antonio Fasolo, who worked as a fresco and portrait painter in and around Vicenza.  

Kansas City. Nelson-Atkins Art Gallery.
Christ and the Centurion of Capernaum. Canvas, 141 x 207.
The subject is from Matthew 8: 5-13. When Christ entered Capernaum, he was approached by a Roman Centurion to cure his servant, who lay suffering at home. When Christ offered to go to his house, the Centurion demurred, saying 'speak the word only, and my servant will be healed'. The picture is one of several versions of this subject by Veronese and/or his workshop. The best, undoubtedly, is at Madrid; there are others at Dresden, Munich and Vienna. The Kansas City version has been identified with one mentioned by Ridolfi (1646) in Vincenzo di Pietro Grimani's splendid palazzo (now the Casino and Wagner Museum) on the Grand Canal, where it was paired with an Adoration of the Magi (probably the painting now at Chatsworth House). It was probably designed by Veronese but painted mainly by assistants. (Veronese’s own touch is perhaps seen in the heads of some figures.) It has been suggested that the man on the far right in modern armour is a self-portrait. The picture was sold by the Grimani-Calergi family in 1664 to the Duke of Mantua. It was later at Paris, and came to England during the French Revolution. The last private owner was Sir Anthony Midmay of Dogmersfield Park, Fleet, Hampshire. Acquired by the museum in 1931.

Latisana (near Portogruaro in Friuli). Cathedral (San Giovanni Battista).
Baptism of Christ. Canvas, 490 x 295.
The picture shows not the moment of baptism but of St John’s recognition that Christ is the Messiah (Matthew 3: 16-17). The dove of the Holy Spirit, released by God the Father, is now invisible. Of the dozen or so surviving paintings of the Baptism by Veronese (and his workshop), it is the only one that is documented. On 1 July 1566, the church of San Giovanni ordered a new high altar and a crucifix from the wood sculptor Andrea Fosca da Faenza, and Veronese's altarpiece was installed with these on 21 June 1567. Now located on an altar of 1763. Already described in 1773 as much damaged by damp, it was restored in 1862 and 1899, and restored again in 1970 (after damage in the 1965-66 floods). As far as can be judged in its condition, it was probably executed in considerable part by Veronese's workshop.

Lewisburg (Pennsylvania). Samek Art Museum. Bucknell University.
Judgement of Paris. Canvas, 102 x 117.
Paris, seated on the right, hands the golden apple to Venus, who stands between Juno and Minerva. Attributed to Veronese by the museum, but probably a workshop replica (possibly by Carletto Caliari) of a lost original. The original, it appears, was painted for the Fondaco dei Turchi (today the National History Museum of Venice) and is known through an engraving published in Padua in 1691. The Lewisburg painting was acquired by Samuel H. Kress in 1935 from the dealer Contini Bonacossi and allocated to Bucknell University in 1961. It is in poor condition: the surface is badly abraded and many small tears in the canvas have been repaired. 

Lille. Musée des Beaux-Arts.
*Paradise. Canvas, 87 x 235.
An oil sketch (modello) for a large painting intended for the Sala del Maggior Consiglio of the Doge’s Palace. When Guariento’s fourteenth-century fresco of the Coronation of the Virgin was damaged beyond repair in the fire of 1577, Veronese, Francesco Bassano, Palma Giovane and Tintoretto all submitted designs for a new painting. Bassano’s modello is in the Hermitage (St Petersburg), Palma Giovane’s is in the Ambrosiana (Milan), and two modelli by Tintoretto are in the Louvre and the Thyssen-Bornemisza Museum (Madrid). The commission was awarded jointly to Veronese and Francesco Bassano, but nothing had been done by either artist when Veronese died in 1588. The commission passed to Tintoretto, and the vast canvas was eventually executed from his design, mainly by his son Domenico and other assistants. The Lille modello is probably one of the two sketches for the Paradise mentioned by Ridolfi (1648) as still with the Caliari family. It was acquired by the Lille museum in 1879. Ascribed to Tintoretto at first, the true authorship was recognised in 1919 (by von Hedeln). Cut down on all four sides.
Martyrdom of St George. Canvas, 200 x 156.
The famous original by Veronese, of around 1564-66, was painted for the church of San Giorgio in Braida at Verona, where it still is. The Lille version, which is roughly half the size of the original, is sometimes classed an autograph replica and sometimes a workshop copy. Acquired by Louis XIV in 1671 from ‘Sieur de La Feuille’. Sent to Lille in 1801.

Liverpool. Walker Art Gallery.
Finding of Moses. Canvas, 153 x 255.
One of many versions of this subject by Veronese, his workshop and imitators. Listed as a late work in great part autograph by Berenson in his 1957 Lists, but ascribed by other critics to Veronese’s workshop or to Benedetto or Gabriele Caliari. It has been identified, perhaps mistakenly, with a picture of this subject in the Orléans collection. {The Orléans picture, engraved by Jean Louis Delignon, seems to have been larger and to have had a number of minor differences.) Presented to the Liverpool Royal Institution by a J. W. Gibsone in 1843.

London. National Gallery.
*Conversion of Mary Magdalene(?). Canvas, 118 x 164.
The picture was traditionally entitled 'Christ and the Woman taken in Adultery' and has also been called 'Christ healing the Woman with an Issue of Blood'. However, it probably represents Mary Magdalene, the repentent prostitute, discarding her jewels after meeting Christ in the temple. This unusual subject does not appear in the Gospels but is found in Pietro Aretino's Humanita di Cristo (1535). Probably a very early work (about 1548-50). The two background figures behind Christ appear to be portraits and might represent the donor and his son. The picture, which could have been painted for the side wall of a chapel, is unrecorded before 1815, when it was in the collection of Sir Gregory Page Turner at Battlesden House, Bedfordshire. Bequeathed in 1876 by Wynn Ellis, a wealthy silk merchant, haberdasher and Liberal politician, who housed his large and mixed art collection at his London address (30 Cadogan Place, Belgravia).
*Consecration of St Nicholas. Canvas, 283 x 171.
The picture represents the consecration of the young Nicholas as Archbishop of Myra in Syria. He is presented to the patriarch, while an angel descends with a mitre and crosier. The picture was painted for the chapel of San Nicola in the monastic church of San Benedetto Po (near Mantua). It was one of three altarpieces ordered for the church on 27 December 1561 by the abbot Andrea Pampusa da Asola. (The priest in a white surplice directly behind the kneeling St Nicholas is probably a portrait of the abbot.) The three altarpieces were paid for just three months later, on 30 March 1562, and were described a few years afterwards by Vasari as the best pictures in the church. They have now been replaced by copies. The Consecration of St Nicholas was bought in 1811 by the British Institution, which presented it to the National Gallery in 1826. One of the other altarpieces (a Madonna and Child in Glory with St Jerome) was destroyed in a fire at Yates’ Galleries in 1836. The third (Virgin appearing to St Anthony and St Paul) is now in the Chrysler Museum at Norfolk, Virginia.
**The Family of Darius. Canvas, 236 x 475.
Alexander, the young man in red armour, points to his friend Hephaestion, whom the mother of Darius, Sisygambis, had mistaken for him. She begs forgiveness, but Alexander tells her that she is not mistaken, for Hephaestion is another Alexander. Kneeling behind her are Darius's wife (Stateira) and his two daughters (Stateira the Younger, whom Alexander made his second wife, and Drypetis, who married Hephaestion). The large horizontal canvas is one of Veronese’s most famous pictures (described by Ruskin as ‘the most precious Paul Veronese in the world’) and one of the best preserved. The patron was Francesco Pisani (1514-67), whose portrait has been plausibly seen in the old man in blue introducing Darius’s family. As first suggested in the 1930s, and now established beyond doubt, its original location was not in Venice or in the Palazzo Pisani at Este but in the Palazzo Pisani, designed by Palladio, in the countryside at Montagnana. It probably hung on a sidewall of the piano nobile, above two doors and quite high up. The popular story (repeated by Goethe in 1786) that Veronese had been a guest of the Pisani and had left the painting, rolled up under his bed, as a gift is apocryphal. The painting is first recorded in 1568, when Francesco Pisani’s estate was the subject of a legal dispute between his disinherited widow, Marietta Molin, and his cousin and heir, Zan Mattio. The painting was moved to Venice after 1629, when the Pisani bought their palazzo (now the Gritti Palace Hotel) on the Grand Canal. In 1664 the agents of Queen Christina of Sweden attempted to buy the painting, but the asking price – over 5,000 ducats – was astronomical. In 1857 Conte Vettor Pisani, having no male heir, decided to sell the picture. Negotiations over its purchase extended over almost four years. There was great opposition to the sale in Venice because of the picture’s fame, and great opposition to the purchase in England because of the high price agreed (£13,000).
*Adoration of the Kings. Canvas, 355 x 320.
Dated 1573 (on the bottom step). This was a remarkably productive year for Veronese’s studio: the enormous Christ in the House of Levy (Accademia, Venice) and two other large pictures also bear this date. Painted for the church of San Silvestro in Venice. It was not an altarpiece but a painting for the wall of the nave beside the altar of a confraternity devoted to St Joseph. After the church was remodelled in 1836-43, it was found that the larger pictures no longer fitted and they were sold. The Adoration of the Kings was bought by the National Gallery in 1855 for £1,977. The picture, which had been stored off its stretcher for many years, rolled up and folded, had been extensively restored before the sale. (The lower part seems to have been affected by damp and there were paint losses along vertical folds in the canvas.) The latest of several subsequent restorations was carried out in 2012-13, when the picture was also fitted with a new frame (which is mostly modern but incorporates some wood from a ruined late sixteenth-century Italian frame). There is a similar, probably contemporary, Adoration of the Kings by Veronese in the church of Santa Corona in Vicenza.
*Vision of St Helena. Canvas, 198 x 116.
St Helena – wife or concubine of the Emperor Constantius Chlorus and mother of the Emperor Constantine – was apocryphally credited with finding the cross on which Christ was crucified. Venetian paintings usually depict her standing beside the cross. But she is shown here sleeping: an angel appears to her in a dream, shows her the cross and invites her to travel to the Holy Land to retrieve the relic. The picture may have been painted around 1570 – though much earlier datings have also occasionally been proposed. The low viewpoint suggests that it may have been made as the outside, right-hand shutter of a church organ. The composition appears to be based on an engraving by Marcantonio Raimondi (or follower). The engraving, in turn, derives from Raphael (whose exquisite drawing is in the Uffizi). There is another, probably later picture by Veronese of the same subject in the Vatican Gallery. Ridolfi (1646) mentions a picture by Veronese of St Helena (‘who dreaming sees the Cross supported by two angels’) in the Casa Contarini at Padua. The same painting, possibly, is recorded in the 1655 inventory of the collection of the Countess of Arundel (drawn up in Amsterdam after her death). The National Gallery picture once belonged to the 1^st Duke of Marlborough (died 1722). It was purchased in 1878 for the high price of 3300 gns at the sale of the Scottish laird, art collector and amateur painter Hugh Andrew Johnstone Munro of Novar. The blue pigment (smalt) used for the sky has faded to a pale yellowish grey.
*Four Allegories of Love. Canvas, each 190 x 190.
These four square canvases were probably painted for the compartments of a bedroom ceiling, and appear to represent the attributes, or stages, of love. In one (traditionally called ‘Unfaithfulness’), a nude woman is between a bearded man and a youth in a doublet to whom she slips a love letter. A second (‘Scorn’) shows Cupid beating with his bow a man lying on a marble cornice; to the left is a disdainful bare-breasted beauty (Virtue?) with Chastity (identified by the ermine she is holding). A third (‘Respect’) shows a man in armour (Mars?) being lead by Cupid towards a sleeping nude (Venus?). In the fourth (‘Happy Union’) a young woman, holding an olive branch with the young man beside her, is crowned with a garland by a naked female (Venus or Fortune?) sitting on a globe. The dog represents faithfulness, while Cupid tries to pull the woman away.
The four allegories may date from around the mid-1570s. They are recorded in 1637 in an inventory of Rudolph II’s collection at Prague, and were looted when the city was sacked by the Swedes in 1648. They were taken to Italy by Queen Christina of Sweden after her abdication in 1654, and sold after her death to the Duc d’Orléans. They were acquired by the 4th Earl of Darnley at the turn of the nineteenth century when the Orléans collection was dispersed in London, and bought by the National Gallery from the 6th Earl in 1890-91. Thinly painted, the four canvases are somewhat worn and some pigments have discoloured (the smalt blue of the skies having turned grey and the green copper resinates of the foliage having oxidised to brown). A fascinating sheet of drawings, preserved at the Metropolitan Museum, New York, contains rapid compositional pen-and-wash sketches for all four canvases.
Portrait of a Gentleman of the Soranzo Family. Canvas, 182 x 111.
The youngish man, seated in an armchair, expensively but soberly dressed in a black satin robe lined with ermine, is placed diagonally against a monumental classical column and pedestal. The elegant portrait is probably a late work (mid-1580s?). It is identified with a portrait of a member of the Soranzo family mentioned in 1648 by Ridolfi, along with a companion portrait of the sitter's wife, in the possession of the Dutch merchant Giovanni Reinst (Jan Reynst) at Venice. The pair of portraits is recorded again in 1666 in the posthumous sale of the collection of Niccolò Renier, a Flemish painter based in Venice. The portrait of the Soranzo gentleman was acquired around 1920 by Henry Lascelles (the 6th Earl of Harewood) from the collection of the art connoisseur and curator Sir Charles Robinson. It formerly hung at Harewood House, near Leeds. Acquired by the British Government in 2022 in lieu of Inheritance Tax. The companion portrait of the sitter's wife is untraced.
Rape of Europa. Canvas, 59 x 70.
A small version of the famous picture in the Doge’s Place (the composition is reversed and, among other differences, there are three rather than four attendant maidens). Long considered a copy or forgery. However cleaning in 1999 revealed the high quality of the brushwork. Recorded in 1637 in Emperor Rudolph II’s collection, and later owned by Queen Christina and the Duc d’Orléans; bequeathed by the Rev. Holwell Carr in 1831.

London. British Museum.
Allegory of the Battle of Lépanto. Paper, 30 x 47.
This grisaille oil sketch, executed in grey and white paint on red tinted paper, was a preliminary study or modello for the large votive picture in the Sala del Collegio of the Doge's Palace. There are two major differences between the sketch and the finished painting. In the sketch, Sebastiano Venier is crowned with the corno ducale by Venice, personified as a beautiful Queen. In the painting, the allegorical figure of Venice is replaced by St Giustina. In the sketch, it is St Mark seated in the clouds. In the painting, it is Christ. From the collection of John Heyward Hawkins. Acquired by the British Museum in 1861.    

London. Courtauld Institute Galleries.
Baptism of Christ. Canvas, 53 x 44.
For some critics an autograph modello for a large altarpiece; for others a small devotional picture by Veronese’s workshop (Benedetto Caliari). Once in the Martinengo collection at Brescia; acquired by Lord Lee of Fareham in 1930.

London. Dulwich Picture Gallery.
Saint Jerome and a Donor (Girolamo Petrobelli). Canvas, 230 x 126.
A fragment from the right-hand side of a large altarpiece (around 4.65 metres high and 2.85 metres wide). It shows one of the donors (Girolamo Petrobelli) with his name saint. A fragment from the left-hand side, showing St Anthony Abbot and another kneeling donor (Girolamo’s cousin Antonio Petrobelli), is in Edinburgh, and the top part, a Pietà, is in Ottawa. The central part, showing St Michael, is lost, apart from the head of the saint (recently identified in the Blanton Museum at Austin, Texas). Restoration of the Dulwich fragment in 1948-53 revealed under layers of repaint: St Michael’s dismembered hand holding a pair of scales at the left edge (a tiny nude figure, representing a human soul, looks pleadingly at the archangel); the Devil's claw at the bottom left; and the rubbed head of St Jerome’s lion at the bottom right. In an incomplete German monograph on Veronese drafted in the early 1930s (but unpublished until 1978), Baron Detlev von Hadeln identified the altarpiece as one painted for the Petrobelli Altar in San Francesco at Lendinara. A manuscript description of the church records a date of 1563. The church was demolished and its contents dispersed in 1782. Veronese’s altarpiece was cut up in about 1788 by a Venetian dealer called Pietro Concolo. The Dulwich fragment was bought in Rome by the Scottish artist and dealer Gavin Hamilton, who sold it to the French dealer Noel Desenfans, whose collection was to form the nucleus of the Dulwich Gallery. The reconstructed altarpiece was exhibited at the gallery in 2009.

London. Royal Collection.
Mystical Marriage of St Catherine. Canvas, 148 x 199.
The Christ Child takes the ring from the infant St John and is about to place it on St Catherine’s finger. The classical building in the background resembles the Septizonium in Rome (demolished in the late 1580s). The picture was designed by Veronese but executed perhaps by a member of his studio (Benedetto Caliari?). It was enthusiastically described by Carlo Ridolfi in 1648, when it was in the great collection of the Dutch merchants Jan and Gerard Reynst at Amsterdam. After the Reynst brothers died, twenty-four of their best paintings were bought by the Dutch Republic for the very substantial sum of 80,000 guilders and presented in 1660 to Charles II of England. The picture currently hangs in the King's Drawing Room at Kensington Palace.
David and Goliath; Judith and Holofernes. Wood, each 30 x 68.
These two small, oblong, sketchily executed panels were probably intended to be let into furniture or wood panelling. Preparatory sketches for both compositions are found on a letter addressed to Veronese and dated 18 September 1582. However, an assistant might have been responsible for the execution of the two panels. From the collection of Charles II. Currently exhibited in the 'East Closet' at Hampton Court Palace. 

London. Chelsea and Westminster Hospital.
Resurrection. Canvas, 259 x 158.
Two angels have lifted the massive stone lid from the sarcophagus, and Christ rises forth, holding a red-cross banner as a symbol of his victory over death. The Roman guards are startled from their sleep and blinded by the divine light. The picture was probably painted in, or a little after, 1577-78 for a side altar of the church of San Giacomo, Murano. Another side altarpiece from the church is at Birmingham (Barber Institute), while the high altarpiece and the inside of the organ wings are at Stamford (Burghley House). By 1802 the Resurrection was in the collection of the Earl of Lonsdale at Lowther Castle, where it remained until 1947, when it was sold to Colnaghi. Acquired by the Trustees of the Westminster Hospital in 1950 for £9,000. Transferred from the old Westminster Hospital on Horseferry Road (which closed in 1993) to the new Chelsea and Westminster Hospital, whose chapel was purpose-built to accommodate the painting. Restoration in 1996 removed old discoloured varnish.

Los Angeles. J. P. Getty Museum.
*Portrait of a Nobleman. Canvas, 193 x 135.
The young man, dressed in black and wearing a sword, leans nonchalantly on a balustrade of a classical building with fluted columns. The Basilica of St Mark’s is visible, lower left, in an imaginary rural setting. This fine portrait probably dates from the 1560s or 1570s. By the late eighteenth century, it was in the Casa Moscardo at Verona, where it was engraved by Zancon as a self-portrait. It was sold in 1802 to an Englishman, Richard Vickris Pryor. During the Second World War, it was one of several Veroneses in the vast collection of Hermann Goering. It was acquired by Getty in 1964, and after a period on loan to the National Gallery, London, it entered the Getty Museum (then at Malibu) in 1971.
Baptism of Christ. Canvas, 109 x 89.
Possibly the Baptism (‘the Saviour at the Jordan with angels holding his clothes’) mentioned by Ridolfi (1648) in the collection of Cristoforo and Francesco Muselli in Verona. Usually judged a late work (early 1580s), executed with studio help. It was acquired in about 1830 by Charles Stirling of Keir in Scotland, and it remained with his descendents until 1963. Later in a private collection in Geneva, it was bought by the Getty Museum (through Colnaghi) in 1979.
Martyrdom of St Giustina. Paper, 47 x 24.
This highly finished study – executed in brown ink and wash and white bodycolour on blue paper – is one of Veronese's most imposing drawings. It was a modello for the large altarpiece painted by Veronese (and his brother Benedetto) in 1574-75 for the church of Santa Giustina at Padua. In the drawing, the saint on Christ's left is John the Baptist. In the final painting, the saint is John the Evangelist. The drawing is lightly squared in black chalk to facilitate enlargement. Formerly in the Duke of Devonshire's collection at Chatsworth, it was acquired by the Getty Museum at auction in 1987.

Los Angeles. County Museum of Art.
*Two Allegories of Navigation or Astronomy (?). Canvas, each 206 x 117.
The muscular old man in a turban, leaning against a Corinthian capital with a heavy iron anchor behind him, holds a planispheric astrolabe (a navigational instrument used to observe the positions of the sun and stars). The younger bearded man, also portrayed among classical ruins, gazes upwards and holds what was once thought to be a double-branched Byzantine cross but which has been identified more recently as a cross-staff (a tool used in astronomy and navigation before the quadrant and sextant). It is uncertain whether the two men represent historical characters, such as Ptolemy and Averroes, or are purely allegorical. The two pictures formed part of a larger cycle, probably intended for a Venetian library or palazzo. Their early history remains a mystery. They were acquired in Italy around the middle of the nineteenth century by the Marquess of Breadalbane, but disappeared for many years after they were bequeathed by Robert Goelet to the Roman Catholic Church. They resurfaced at auction in 1973 with an attribution to Fragnonard (!).
Two other paintings of allegorical figures (one representing Sculpture and the other possibly Astronomy or Geography) at the Villa San Remigio at Pallanza (Verbania on Lake Maggiore) have been identified recently as having formed part of the same series. The two pairs of canvases were reunited for a series of exhibitions in 2014-15 at Vicenza (Palladio Museum), Turin (Venaria Palace) and Los Angeles (County Museum).   
 
Lucca. Pinacoteca Nazionale.
Peter the Hermit before the Doge. Canvas, 210 x 312.
Peter the Hermit (Peter of Amiens) persuades the Doge of Venice to join his 'People's Crusade' of 1096. An oil sketch, or modello, for a tapestry commissioned for the Sala del Collegio of the Doge’s Palace. The canvas is not pricked for transfer and it is not known whether the tapestry was ever woven. The modello was probably painted around 1576-77. It is mentioned by Ridolfi (1648) in the possession of the artist’s nephew Giuseppe, and remained with the Caliari family until the end of the seventeenth century. It then went to Florence, and was transferred to Lucca in 1847 from the villa at Poggio Imperiale. It is in very poor condition and the execution is often acribed to Veronese's workshop. There is a free compositional sketch, in pen and ink with wash, in the Fine Arts Museum, Budapest.   

Lyon. Musée des Beaux-Arts.
*David and Bathsheba (?). Canvas, 191 x 224.
The traditional identification of the subject has been doubted – Susannah and the Elders is an alternative. The coat-of-arms on the pitcher (bottom left) has been variously identified as that of the Venetian Contarini family or of the Trevisani or Barbarini families of Vicenza. This sumptuous and erotic picture is usually considered a comparatively late work of the 1570s. It was in France by 1660 (with a certain ‘Monsieur de Talemon’) and entered the collection of the finance minister Nicolas Fouquet. Along with Veronese’s Perseus and Andromeda (now at Rennes), it was acquired by Louis XIV after Fourquet was accused of embezzlement in 1662 and his collection sequestrated. It was displayed at Versailles, where it was enlarged at the top and left side. (The extensions were removed in 1991.) Sent to the museum at Lyon in 1811.
Finding of Moses. Canvas, 130 x 115.
A variant – larger and with the composition reversed – of the famous painting in the Prado, Madrid. There are several other variants, those at Dresden and Dijon being closest in composition to the Lyon painting. Often consigned (perhaps harshly) to Veronese’s workshop. Bought by Louis XIV in 1685 for 5,000 livres from the art dealer Néret de La Ravoye. At Versailles until 1784; sent to Lyon in 1803.
Adoration of the Magi. Canvas, 134 x 294.
From the Palazzo dei Camerlenghi (the Venetian Treasury next to the Rialto Bridge). The three camerlenghi shown as donors (identified by the coats-of-arms of the Molin, Contarini and Zane families) were in office between October 1583 and October 1584. It was customary for retiring office-holders to offer a votive painting to the Palazzo. The earliest date for the painting is therefore 1584. The execution was clearly by members of Veronese’s workshop (Benedetto and Gabriele Caliari?). Acquired by Louis XIV in 1684 from the Marquis d’Hauterville. Sent to Lyon in 1803.

Madrid. Prado.
*Christ preaching in the Temple. Canvas, 236 x 430.
The scene is set in a magnificent classical interior, with the twelve-year old Christ, pointing to heaven, seated on a raised dais off to the left. There are clearly portraits among the elders standing at the left edge and seated on the right in front of the semi-circular colonnade. (The grey-bearded man standing, with his right hand placed on his heart and the red cross of Jerusalem embroidered on his black cloak, might well be the donor.) Mary and Joseph, searching for their son, appear in the doorway in the background. The edge of the book held by the man seated beneath Christ bears Roman numerals that have been read as 1548. If this date is correct, the picture would be one of Veronese’s earliest works, but some critics have dated it considerably later (late 1550s or even late 1560s) on stylistic grounds. First certainly recorded in 1686 in the Salon de los Espejos in the Alcázar at Madrid.
*Christ and the Centurion of Capernaum. Canvas, 192 x 297.
The kneeling centurion pleads with Jesus to cure his paralysed servant (Matthew VIII). The bearded man behind Christ could be a portrait of the patron. Generally agreed to be the best of several paintings of this subject by Veronese and/or his workshop; there are others at Dresden, Munich, Kansas City, Vienna and elsewhere. The Madrid version is usually dated around 1570. It has been claimed to be the one described by Ridolfi in 1648 as having been in the Casa Contarini at Padua, but there is no firm evidence to support this identification. It has also been identified with a picture of this subject bought for Philip IV of Spain by his ambassador, Alonso de Cardenas, at the 1649 London sale of Charles I’s collection. However, the museum catalogue prefers a provenance from the Earl of Arundel's collection (sold after the death of Lady Arundel in Amsterdam in 1654). The picture was installed by Philip IV in the Prior's Chapter House of the Escorial, where it remained until 1839, when it was transferred to the Prado.
*Finding of Moses. Canvas, 50 x 43.
Pharaoh’s daughter, dressed in the height of sixteenth-century Venetian fashion, is shown the infant Moses by her attendants. On the left, a black servant holds the rush basket in which he was found. On the right, a dwarf holds a pipe (recorder or shawn). Generally regarded as the finest of a number of pictures of the Finding of Moses by Veronese and/or his workshop. (There is one almost equally small and almost identical in composition at Washington; larger versions at Dresden, Lyon and Dijon in which the composition is reversed; a very large version at Turin apparently inspired by Raphael’s ceiling fresco in the Vatican Loggia; and yet another version at Liverpool with a substantially different composition.) The Madrid picture is probably one of two small versions of the subject that were owned by Charles I. It is recorded at the Alcázar in Madrid in 1666. On the evidence of drawings (including sketches on the back of a letter dated 28 September 1582), the various versions of the Finding of Moses may all date from the early 1580s. A fine copy by Sebastiano Ricci in the British royal collection was bought by King George III from Consul Smith in 1762 as an original Veronese.
*Venus and Adonis. Canvas, 212 x 121.
The subject, popularised by Titian, is from Ovid's Metamorphoses (Book X). Venus fans her lover, lying in her lap, and looks down at Cupid, who restrains the dogs that will lure Adonis to the hunt and his death. The figure of Cupid appears to be based on the Hellenistic sculpture of the Boy struggling with a Goose (known through many Roman copies). This superb picture is a late work – but no later than 1584, when it was described in Borghini’s Il Riposo. Together with its companion piece, the Cephalus and Procris now at Strasbourg, it was acquired in Venice by Velázquez in about 1650 for Philip IV of Spain. Strips have been added to the top and bottom, increasing the height by about half a metre.
*Susannah and the Elders. Canvas, 151 x 171.
The subject, very popular among sixteenth-century Venetian painters, is found in the Book of Daniel in the Vulgate Bible and in the Apocrypha of the King James Version. As she bathed in her garden, the beautiful and virtuous Susannah was accosted by two lecherous elders, who threatened to accuse her of adultery – an offence punishable by stoning – unless she slept with them. In this decidedly erotic painting, she has just emerged from her bath and is attempting to hide her nakedness with a piece of gorgeous gold brocade. The picture, usually dated around 1580, was probably purchased in Venice by Velázquez for Philip IV. There are some half a dozen other versions of this subject by Veronese and/or his workshop. The best known are in the Louvre and Kunsthistorisches Museum; there are also two in Genoa – one on loan to the Palazzo Bianco and the other in the art collection of the Banca Carige.    
*Youth between Vice and Virtue. Canvas, 102 x 153.
Virtue, a modestly cloaked woman, leads the aristocratic youth, fashionably dressed in crimson doublet and hose, away from Vice, a sensuous woman seated at the entrance of a grand villa. Veronese painted several variations on the theme of the choice between Vice and Virtue. The best known is in the Frick Collection, New York, and is usually now dated to the mid-1560s. The Prado picture is probably later (around 1580). It is probably identifiable with a painting recorded with the title 'Vertu & Vitio' in the Arundel collection. That painting was part of a consignment of artworks shipped from Venice to London in 1616 by the Flemish dealer Daniel Nijs, and it hung in the Picture Gallery at Arundel House on the Strand until the Civil War. It was one of several paintings by Veronese purchased in 1659 from the collection of the late Countess of Arundel by the Spanish ambassador, Alonso de Cádenas, on behalf of Philip IV's chief minister, Luis de Haro. By 1686 the painting was in the Alcázar at Madrid. A version in the Rijksmuseum, Amsterdam, is now regarded as a sixteenth-century or seventeenth-century copy. 
The Family of Cain. Canvas, 105 x 153.
Depictions of Cain slaying Abel are common, but Veronese's painting is unusual in illustrating a later episode in the Old Testament story. After killing his brother, Cain lived as a fugitive with his wife and son Enoch in the Land of Nod, east of Eden (Genesis 4: 15-16). He is shown as a primitive man, wearing a lion's skin and armed with a club, watching his wife nursing their child at the mouth of a cave. Like the Youth between Virtue and Vice, the picture was probably purchased by Alonso de Cárdenas in 1659 from the Arundel collection. (The provenance of the two paintings, almost identical in size and once described as a pair, is discussed by Peter Humfrey in the March 2018 issue of Colnaghi Studies). A pen-and-ink copy by the miniaturist Peter Oliver (Metropolitan Museum, New York) is proof that the Family of Cain was once in England. Recorded in the Spanish royal collection in 1794. 
Penitent Magdalen. Canvas, 122 x 105.
The Magdalen, meditating on a crucifix, human skull and book of scripture, turns her eyes heavenwards in a moment of divine revelation. A late work, rather sketchy in execution and sombre in tone. Dated 1583 on the open book. It has sometimes been identified with a picture seen by Ridolfi (1648) in the house of the French ambassador to Venice. It was part of a batch of forty-four paintings (eight attributed to Veronese) acquired in London from various English collections by the Spanish envoy, Conte de Fuensaldana, and shipped to Spain in 1651 for Luis de Haro, Marquis of Carpio. It was later in the collection of Elisabetta Farnese, Queen consort of Philip V, in her palace at Granja. 
Sacrifice of Abraham. Canvas, 125 x 95.
The angel descends to stay the hand of Abraham as he prepares to sacrifice his son Isaac. The lamb, substituted for Isaac, appears in the bottom left corner. The painting, quite sketchy in its handling, may date from Veronese's last years. It was among the pictures acquired by the Conte de Fuensaldana in London and dispatched to Spain in 1651. Transferred to the Prado from the Escorial in 1839.
Wedding Feast at Cana. Canvas, 127 x 209.
Another of the paintings acquired in England by the Conte de Fuensaldana for Luis de Haro. It is of markedly lower quality than the Penitent Magdalen or Sacrifice of Abraham, and has been ascribed to Veronese's studio (or his nephew Alvise dal Friso). 
Martyrdom of St Menas. Canvas, 248 x 182.
The picture was previously thought to represent the Spanish saint Ginés de la Jara or the (possibly identical) French saint Genesius of Arles. Men(n)a(s) is a Coptic saint, reputedly tortured and beheaded in Egypt during the persecutions of the Emperor Diocletian. He is shown gazing towards Heaven, as he is forcibly held on the scaffold by a muscular executioner armed with a two-handed sword. To the left, a fierce pagan priest stands beside the statue that the martyr refused to worship. Lower down on the left, a torturer reaches for a basket containing a rope and pliers. Parts of the composition, including the pose of the saint, are repeated from Veronese's famous Martyrdom of St George in the church of San Giorgio in Braida at Verona. The picture was presumably painted as an altarpiece, but its original location is unknown. It was given to Philip IV by Juan Enríquez de Cabrera, Admiral of Castile. Transferred to the Prado from the Escorial in 1837.    

Madrid. Escorial.
Annunciation. Canvas, 440 x 188.
Signed and dated 1583. Along with Tintoretto's Adoration of the Shepherds, the Annunciation was commissioned by Philip II of Spain for the high altar of the Escorial. Philip paid 800 ducats for the two large paintings, which arrived in Spain in 1584. The pictures failed to give satisfaction, apparently, and were either never installed over the high altar or soon removed. Veronese's painting must have pleased the king aesthetically, however, as he offered Veronese 9,000 ducats to move to Spain as his court painter – an offer that Veronese declined.
In spite of the large fee, Veronese appears to have delegated much of the execution of the Annunciation to his workshop. The composition loosely repeats that of an Annunciation painted by Titian almost fifty years earlier. Titian's picture, sent to Queen Isabella in 1537, is lost, but its composition is known from a contemporary engraving by Caraglio.

Madrid. Thyssen-Bornemisza Collection.
Lady with a Lapdog. Canvas, 105 x 79.
Usually identified with a portrait mentioned by Ridolfi (1648) in the Muselli collection at Verona and included in a 1662 inventory of the family’s possessions. An alternative suggestion is that it could be the ‘Portrait of a Lady with a Little Dog’ by Veronese listed in an inventory of Rubens’s collection drawn up after the painter’s death in 1640. In the eighteenth and nineteenth centuries, the picture was in Paris – first in the Orléans collection (where it was engraved as ‘the Daughter of Paolo Veronese’) and later the collections of the Comte de Pourtalès and of Mrs Lyne Stephens (the dancer Pauline Duvernay). Acquired by Baron Heinrich Thyssen-Bornesmisza by 1930. The picture is considerably restored. It has been accepted as an autograph Veronese by many critics (including Berenson in his 1957 Lists and Richard Cocke in his 1984 volume on the artist’s drawings), but some Italian critics (including Pignatti and Pedrocco in their 1995 monograph) have ascribed it to Veronese’s workshop (Benedetto or Carletto Caliari). Evidence that Veronese at least contributed to the composition is afforded by a preparatory black chalk drawing in the Louvre. Datings have ranged from the early 1570s to mid-1580s.
Annunciation. Canvas, 110 x 87.
The pet puppy sitting by the Virgin’s prie-dieu is like that that in the Lady with a Lapdog. The Renaissance loggia viewed through the arch resembles the façade of Sansovino's Biblioteca di San Marco. One of several related versions of the Annunciation by or dependent upon Veronese; there are others in Venice (Accademia), Washington, Cleveland (Ohio) and Austin (Texas). Once considered a comparatively early work of about 1560, the Thyssen picture (with its comparatively loose handling and dark palette) has been more recently judged a late work of Veronese or his workshop and dated around 1580-85. It has been identified with an Annunciation, recorded at the Ca' Sagredo in Venice, which was valued by Giambattista Tiepolo in April 1743 at the large sum of 380 ducati. It was acquired by Baron Heinrich by 1930 from an unknown source. In 2004 the picture was placed on loan with the newly refurbished Museu Nacional d’Art in Barcelona.

Maser (near Volpi). Villa Barbaro.
**Frescoes.
The villa was built by Palladio for Daniele Barbaro and his brother Marcantonio. Veronese and his brother Benedetto decorated the main rooms of the piano nobile, which is shaped like a double ‘T’, with delightful frescoes. The exact date of the work is uncertain, but there is circumstantial evidence to suggest that much of it was done between April and October 1561. The programme was probably devised by Daniele Barbaro himself. The idealised landscapes in the central hall (Sala a Crociera) recall Vitruvius’s description of Roman wall paintings representing ‘landscape gardening, harbours, headlands, shores, rivers, springs, straits, temples, groves, cattle, hills and shepherds’. The five adjacent rooms have allegorical ceiling frescoes. In the Sala degli Sposi there is an Allegory of Conjugal Love, where a married couple (perhaps symbolising Marcantonio and Giustiniana Barbaro) place themselves under the protection of Hymen, Juno and Venus. Other ceilings depict Faith and Charity (Stanza della Lucerna), Abundance, Fortitude and Envy (Stanza del Cane), Divine Love or Universal Harmony (Sala di Olimpo), and an Allegory of Bacchus, in which the god reveals the mysteries of wine to the Lares, protectors of the Barbaro family (Sala di Bacco). Other decorations in the villa are simply illusionistic caprices. Musicians project into the Sala a Crociera from simulated niches in the corners, while painted banners and lances rest in the corners. Witty touches include a dog and cat on ledges in the Stanza del Cane, cleaning utensils on a sill in the Stanza degli Sposi, and family members and servants glimpsed in painted doorways. The famous hunter coming through a door is usually believed to be a self-portrait. The frescoes suffered in the nineteenth century at the hands of Austrian soldiers, who slashed many of the landscapes. They were restored in 1939 by the Russian painter and copyist Nicholas Lochoff. The only surviving cartoon by Veronese for the frescoes is a pricked drawing in the Uffizi for the head of an allegorical figure of Music.

Milan. Brera.
*Feast in the House of Simon. Canvas, 275 x 710.
On the left, the Magdalen anoints Christ’s feet; on the right, Judas rises from the table to protest. The huge canvas is typically rich in incidental detail. Two dogs and a cat fight over food scraps on the floor. A servant boy (right) has stolen bread and wine from the table. A drunk (right edge) is helped from the table. From the refectory of the Hieronymite convent of San Sebastiano at Venice. Taken to the Brera in 1817 in substitution for the Feast of St Gregory, which was returned to the sanctuary of Monte Berico at Vicenza. According to Ridolfi, it was painted in 1570 – a year in which Veronese is documented as having received payment for unspecified work at San Sebastiano.
*Baptism and Temptation of Christ. Canvas, 248 x 450.
Two scenes from the life of Christ are combined in the one picture. In the left foreground, he is baptised by St John in the River Jordan. In the middle ground on the right, he is tempted by the Devil, who attempts to persuade him to turn stones into bread and offers him all the kingdoms of the earth (imaginatively represented by the exotic buildings in the distance). Perhaps the finest of a series of eleven canvases painted by Veronese and his workshop in about 1581-82 for the small church of San Niccolò ai Frari in Venice. (Two ceiling canvases, two monochrome Prophets, originally at the sides of the high altar, and a large Crucifixion from the right wall of the nave are in the Venice Accademia. An Adoration of Shepherds and figures of Evangelists are now mounted on the ceiling of the presbytery of the Chapel of the Rosary in SS. Giovanni e Paolo.) The Baptism and Temptation of Christ hung on the right wall of the presbytery, beneath a Last Supper by Veronese’s son Carletto. It was transferred to the Brera in 1809.
*Agony in the Garden. Canvas, 108 x 180.
A night scene of great emotional power. Christ faints into the arms of the 'angel that appeared from heaven and strengthened him' (Luke: 22, 43). The apostles Peter, James and John sprawl in sleep. From the church of Santa Maria Maggiore in Venice. It is one of five paintings by Veronese in the church mentioned by Ridolfi in 1648. A very late work, probably painted in about 1584, when the wealthy citizen and ducal secretary Simone Lando left money in his will to embellish the choir of the church. Transferred to the Brera in 1808.
*Last Supper. Canvas, 230 x 523.
Commissioned by a confraternity of the Sacrament (Scuola del Sacramento) for the church of Santa Sofia in Venice. (It is first recorded hanging on the entrance wall, but may have been intended for the side wall of a chapel.) The church (near the Ca’ d’Oro) was closed in 1810 and the Last Supper was sent to the Brera in 1811. A very late work (almost certainly after 1581, as it is not mentioned in Francesco Sansovino’s description of the church in his Città Nobilissima of that year). Perhaps reflecting Counter-Reformation ideas, the setting is more modest than in Veronese’s earlier opulent Feasts. The asymmetric composition – with Christ seated at the left edge rather than in the centre and the long table set diagonally instead of being viewed from the front – and the dark tonality recall Tintoretto. Only since the 1930s has the painting been widely accepted as an autograph Veronese.
St Anthony Abbot enthroned with SS. Cornelius and Cyprian. Canvas, 270 x 180.
St Anthony, enthroned as abbot on a high pedestal, looks down on St Cornelius, who reads from a book held up by a page. St Cyprian stands on the right. From the high altar of the Benedictine church of Sant’Antonio on the island of Torcello, where it was seen by Ridolfi in 1648. The convent was home to the nuns of San Cipriano of Mestre, which explains the presence of Saints Cornelius and Cyprian in the altarpiece. The picture probably dates from about 1570 (the year the altars of the church were regilded). Removed to the Brera in 1808, after the convent was closed. Sometimes (harshly) ascribed to Veronese’s workshop. Previously dulled by old varnish, its colouring can be better appreciated since restoration.
Adoration of Magi. Canvas, 449 x 339.
The large arched canvas, divided vertically into two halves, decorated the outside of the organ doors of the church of Ognissanti in Venice. It was painted in Veronese's workshop towards the end of the artist's life. (The organ was commissioned on 12 September 1584 and the church was dedicated on 21 July 1586.) The canvas was sent to the Brera in 1811. It is currently on deposit at the Palazzo Madama at Rome (seat of the Italian Senate). The canvas decorating the inside of the organ doors depicts the Doctors of the Church. It too was sent to the Brera, and is currently on deposit at the Pinacoteca Malaspina, Pavia. Veronese's high altarpiece (Coronation of the Virgin) for the church of Ognissanti is in the Venice Accademia. 

Modena. Galleria Estense.
*SS. Geminianus and Severus (341 x 240); St John the Baptist (247 x 122); St Menna (247 x 122).
St Geminianus (fourth-century Bishop of Modena) and St Severus (fourth-century Bishop of Ravenna) occupy a single niche, with an altar boy standing between them holding an open book. John the Baptist (with his lamb at his feet) and St Menna or Menas (a Roman soldier born in Egypt and martyred in Phrygia) stand in separate niches. The SS. Geminianus and Severus originally decorated the outside of the shutters of an organ; the St John the Baptist and St Menna decorated the inside of the shutters. The organ was commissioned by the priest Benedetto Manzoni in 1558 for the church of San Geminiano, and was described as finished by Sansovino in 1561. The shutters cost an astonishing 600 ducats. 
In the early eighteenth century, the old round-topped organ was replaced by a square one, and the canvases were adjusted to fit. After the church (which was in St Mark’s Square, opposite the basilica) was destroyed in 1807, the St Menna was transferred to Modena, but the SS. Geminianus and Severus (joined together as one picture) and the St John the Baptist were taken to the Imperial Gallery in Vienna and returned to Italy only in 1919.
Comparison with a marble bust sculpted by Alessandro Vittorio (originally in the church of San Geminiano and now at the Ca' d'Oro) leaves little doubt that the St Geminianus is a portrait of Benedetto Manzoni. It has been suggested that the swaggering St Menna in armour could be a self-portrait (Rearick (1988)) or a portrait of Benedetto Caliari (Xavier Salomon in the August 2008 Burlington Magazine).

Montagnana (south west of Padua). Duomo (Santa Maria).
*Transfiguration. Canvas, 558 x 260.
In the upper part, on a bank of cloud and against a glory of golden light, Christ speaks with Moses and Elijah on the summit of Mount Tabor. Prostrate on the ground below, the apostles Peter, James and John are awe-struck by the glimpse of Paradise. Signed, bottom left. A comparatively early work, commissioned for the high altar of the cathedral by Cardinal Francesco Pisani, Bishop of Padua, on 3 June 1555 and finished by the end of the following year. It was for Francesco Pisani’s Palladian villa at Montagnana that Veronese painted the famous Family of Darius (now in the National Gallery, London).

Montreal. Museum of Fine Arts.
Christ crowned with Thorns. Canvas, 76 x 57.
The composition, with Christ seen from the waist up, crowned with thorns and holding a reed cross, seems clearly to have been inspired by Titian’s paintings on the theme, such as those in the Prado and at Dublin. Attributed to Veronese as a very late work of the mid-1580s. Acquired by the museum in 2009 from the Galerie Maison d’Art in Monaco.

Moscow. Pushkin Museum.
Resurrection of Christ. Canvas, 97 x 140.
A variant of the painting at Dresden. From the collection of Sir Robert Walpole at Houghton Hall in Norfolk. Valued (along with a painting of Pentecost now attributed to a follower of Veronese) at £200 in the sale of pictures in 1779 to Catherine the Great. The picture hung for a time in the apartments of the Empress Alexandra, consort of Nicholas II, at the Gatchina Palace. After the Revolution, it went to the Hermitage at St Petersburg (where it was considered a copy) and thence to the Pushkin Museum in 1928. A thorough restoration was carried out before and after the picture was included in an exhibition of Walpole's pictures held at Houghton Hall in 2013. Following the removal of thick varnish and old repaint, the colours appear much lighter and brighter. Probably comparatively late (about 1580?).
Minerva. Canvas, 28 x 16.
From the same series as the Diana in St Petersburg and the Allegory of Painting in Detroit. Their original purpose is uncertain: one theory is that they were preliminary sketches (bozzetti) for larger paintings or frescoes; another is that they decorated an item of furniture; and yet another is that they formed part of a decorative frieze. Acquired for the Hermitage in 1772 with the Crozat collection. Transferred to the Pushkin Museum in 1930. 

Munich. Alte Pinakothek.
*Cupid with Two Dogs. Canvas, 100 x 134.
This unusual picture is complete – and not a fragment of a larger composition as has sometimes been assumed. One suggestion is that it symbolises love (represented by Cupid) as a harmonising force in the natural world (represented by the two dogs). Another is that it symbolises fidelity (represented by the two dogs) in love (represented by Cupid). Probably late (early 1580s). First recorded, with an attribution to Veronese, in the 1692 inventory of Schleissheim Castle.

Murano. San Pietro Martire.
Saint Jerome in the Desert. Canvas, 231 x 147.
Commissioned by Francesco degli Alberi, the priest of the church of Santa Maria degli Angeli on Murano, in 1566 for the altar of the Cappella di San Girolamo – a small chapel the priest had built beside the church. The picture was moved to Santa Maria degli Angeli in 1667 and thence to San Pietro Martire in 1806. There are other paintings of this subject by Veronese (and his workshop) in the Accademia at Venice and at Chicago and Washington. All are different in composition.
The Saint Peter Visiting Saint Agatha in Prison, which also now hangs on the left wall of the nave of San Pietro Martire, was commissioned at the same time as the Saint Jerome and originally hung over the door of the little chapel. It is of lower quality than the Saint Jerome and the execution has been ascribed, in large part, to Benedetto Caliari.
Both pictures (and their flamboyant seventeenth-century frames) were restored in 2016-17.   

Murano. Palazzo Trevisan (opposite the Museo Vetrario).
Frescoes.
Traces of Veronese’s fresco decoration, mentioned by Vasari (1568), survive in the Saletta della Olimpia on the first floor, including a scene of Venus and Amorini in the central octagon of the ceiling. The ceiling fresco from the Sala Meridionale on the ground floor was removed by the French, and is now – very damaged and in two parts – in the Louvre.

New Haven. Yale Art Gallery (on loan from Barber Welfare Foundation).
Mystical Marriage of St Catherine. Canvas, 58 x 91.
St Catherine kneels in the centre of the composition; the Child, astride the Virgin’s knee, takes the saint’s fingers with one hand and holds the ring with the other; St Anne and Joseph behind. A very early work, related in composition to a picture of the same subject at Tokyo that is likely to date from 1547. Formerly in the collection of the Princes of Liechtenstein. It came to the Barber Foundation from the estate of Catherine Barber Hickox of New York (died 1970).

New Orleans. Isaac Delgardo Museum of Art.
‘Sacra Conversazione’. Canvas, 103 x 128.
St Lawrence on the left; St Agnes (with lamb) and St Anthony Abbot on the right. Probably painted in the 1560s, with considerable studio assistance. By 1767 the picture was in the collection of the Princes of Liechtenstein; acquired by Samuel H. Kress in 1952 and allocated to the New Orleans Museum the following year.

New York. Metropolitan Museum.
*Mars and Venus. Canvas, 206 x 161.
Cupid ties the leg of the naked Venus to that of the armoured Mars with a ribbon. Milk flows from Venus’s right breast, symbolising fecundity, the nourishing effects of love or (on a more elaborate interpretation) the transformation through love of chastity into charity. The scene on the right, showing Cupid barring the advance of Mars’s horse by holding the god’s sword against the animal’s legs, probably represents love restraining passion. In the background, a marble satyr supports a broken entablature. While the picture’s detailed meaning is disputed, there can be little doubt that the intention is erotic and that in a general way it signifies the triumph of love over war. The picture is signed at the bottom on a marble fragment.
The Mars and Venus was painted for Rudolph II by 1584, when it is mentioned in Borghini’s Il Riposo. It is one of four superb mythological pictures by Veronese of roughly similar size that are recorded together in the posthumous 1621 inventory of Rudolph’s collection; two are now nearby in the Frick Collection, New York, and the other is in the Fitzwilliam Museum, Cambridge. A fifth painting, representing Venus arming Mars, was cut up in the nineteenth century – presumably because it was damaged. (A fragment, depicting Cupid holding the Reins of Mars's Charger, was sold at Christie's in 2001.) The five mythologies remained together for around two hundred years – in the Imperial collection at Prague Castle (until 1648), Queen Christina’s collection at Stockholm and Rome (until 1689), the Odescalchi collection at Rome (from 1696), and the Orléans collection at Paris (from 1721). The French Revolution eventually separated the paintings, which were sold in London at the end of the eighteenth century. From 1866, the Mars and Venus was in Lord Wimborne’s collection in London. It was sold for £6,300 at Christie’s in 1903, and bought by the Metropolitan Museum in 1910.
*Portrait of Alessandro Vittoria. Canvas, 111 x 82.
Alessandro Vittoria (1525-1608) was the most important Venetian sculptor of the later sixteenth century, and collaborated with Veronese on the decoration of the Villa Barbaro and Palazzo Trevisan. He is shown standing behind a table covered with an Oriental carpet, holding a plaster modello for his statue of St Sebastian, carved in 1561-63 for the church of San Francesco della Vigna. The marble torso on the left is antique. The portrait probably dates from about 1570-75. Formerly in the collection of Earl Brownlow at Ashridge Park, Hertford; it was sold at Christie’s in London in 1923, simply as a ‘Portrait of a Sculptor in a Black Dress’, for the astonishingly low price of 5 gns. The sitter was identified as Alessandro Vittoria in 1937 when the portrait was being exhibited at the Cleveland Museum. (An alternative identification with Vittoria’s younger rival Girolamo Campagna (1549-1625) has been proposed more recently.) Acquired by the Metropolitan Museum in 1946 from a New York dealer (Piero Tozzi).
Portrait of a Boy with a Greyhound. Canvas, 175 x 102.
The youth, said traditionally to be a member of the Colleoni family of Bergamo, is portrayed standing full-length, dressed in a gold and black doublet and hose and stroking the neck of the white greyhound beside him. The portrait may date from the 1570s. It is somewhat worn and the blue pigment (smalt) used for the sky has turned grey. From the Martinengo collection, Brescia. Acquired around 1904 'for a small sum' by the New York sugar tycoon Henry Osbourne Havemeyer, whose widow bequeathed it to the Metropolitan Museum in 1929.
St Catherine of Alexandria in Prison. Canvas, 116 x 84.
According to the Golden Legend, the pagan Emperor Maxentius punished the young Princess Catherine for her Christian beliefs by condemning her to twelve days in prison without food or drink. She is shown in the darkness of her cell, visited by the white dove that brought her celestial food. She holds the palm of martyrdom in her right hand and her broken wheel is beneath her feet. Probably late (1580s). There are no old references to the picture, which was sold at Christie’s, New York, in 1992 for $440,000 and donated anonymously to the museum in 1999.
Allegory of Redemption. Paper, 66 x 42.
This large brush drawing in grisaille is not known to have been used as a preparatory study or modello for a painting and may have been conceived simply as a work of art in its own right. Sibyls are gathered round an empty tomb, and Old Testment Prophets are seated on the clouds above. In the heavenly realm, at the top of the drawing, the Virgin Mary presents John the Baptist to the Holy Trinity (the dove of the Holy Spirit hovering between God the Father and Christ). The sheet bears the collectors' marks of the painter Peter Lely and the celebrated eighteenth-century English collector Jonathon Richardson. Acquired by the museum in 1961 from a New York dealer.   

New York. Frick Collection.
*Allegory of Wisdom and Strength. Canvas, 215 x 167.
The female figure, standing on a small globe and gazing towards heaven with a divine light above her head, is believed to represent Truth or Divine Wisdom. Hercules, looking downwards at worldly riches (crowns, sceptres, jewels, coins and military banners) and love (represented by Cupid), appears to represent worldly vanities, brute force and strength. Lower left on the antique column is an inscription from the Book of Ecclesiastes: OMNIA VANITAS (‘All is Vanity’). The picture is a pair with the Allegory of Virtue and Vice, also in the Frick Collection. They were in Rudolph II’s collection at Prague, and later the collections of Queen Christina at Rome and the Duc d’Orléans in France. When the Orléans collection was sold in London in 1798-99, they were bought by the merchant banker, collector, traveller and writer Thomas Hope (author of the Byronic 1819 novel Anastasius) and remained with his descendents until the end of the nineteenth century. Acquired by Henry Frick in 1912 from Knoedeler & Co. for $200,000.
*Allegory of Virtue and Vice. Canvas, 219 x 170.
The subject appears to be a version of the Hercules at the Crossroads theme: Honour (a young man in glistening white satin) escapes the embrace of Vice or Death (a lascivious woman, luxuriously dressed and elaborately coiffured, who has fingernails like claws, holds playing cards in her left hand and hides a knife and sphinx behind her back) into the arms of Virtue (a serious young woman, modestly dressed in a green gown and wreathed in laurel). The elegantly dressed young man could be a portrait of the unknown patron (though he has also variously been identified as Veronese himself, a poet, a Jesuit priest and a generic depiction of a contemporary young man). The Latin inscription, upper left, means ‘Honour and virtue flourish after death’. The Virtue and Vice is not quite as well preserved as the Wisdom and Strength (the paint surface flattened by the relining of the canvas and in places abraded).
On the assumption that they formed part of the same series as the Mars and Venus at the Metropolitan Museum, the two Frick pictures were often regarded as comparatively late works (painted between 1576, when Rudolph II acceded to the throne, and 1584, when the Venus and Mars is recorded in the Emperor's collection). There are no strong grounds for this assumption, however, and the pictures are now generally dated, on grounds of style, to the mid-1560s.   

Norfolk (Virginia). Chrysler Museum.
*Virgin appearing to St Anthony Abbot. Canvas, 285 x 170.
The Virgin and Child appear in a blaze of light to St Anthony (with crutch and rosary) and St Paul the Hermit (who had been studying the Bible in his lap). Painted for the chapel of Sant’Antonio Abate (second on the right of the nave) in the Benedictine abbey of San Benedetto Po, near Mantua. It was one of three altarpieces executed by Veronese for the church in the first three months of 1562. The Consecration of St Nicholas in the National Gallery, London, is one of the others. The third painting (a Madonna and Child in Glory with St Jerome) is lost, but is known through an eighteenth-century copy (in situ). The altarpieces were part of a decorative programme that had started twenty years earlier, when Abbot Gregorio Cortese commissioned Giulio Romano to restore the church. The altarpieces (there were fifteen in all by various artists) were framed in inlaid wood and installed in richly ornamented side chapels closed by gilt gratings. Veronese’s three paintings were removed from the church in Napoleonic times. The Virgin appearing to St Anthony was acquired in 1954 by Walter P. Chrysler from a private collection in France.

Olomouc (Czech Republic). Archdiocesan Museum.
Twelve Apostles. Canvas, 170 x 178.
Signed on the book. A fragment, identified in 1960 (by the Czech art historian Eduard Safarif) as the lower part of an Ascension painted in 1575 for the church of San Francesco in Padua. It was cut out of the frame by thieves and probably acquired by the Earl of Arundel when he was visiting Padua in 1613 or 1614. It was bought with the remnants of the Arundel collection in 1662 by the merchants and art dealers Franz and Bernhard von Imstenraedt of Cologne, whose collection was sold to Bishop Karl Liechtenstein of Olomouc in 1673. The fragment was previously displayed in the National Gallery at Prague; the new museum was opened in the Archbishop’s Palace at Olomouc in 2006. The two parts of the Ascension were reunited for the Veronese e Padova exhibition held in Padua in 2014.

Omaha. Joslyn Art Museum.
Venus and Cupid with a Mirror. Canvas, 161 x 121.
Venus, twisting her head to the right to look in a mirror held up by Cupid, adjusts the golden scarf in her hair. She is seen from the back, whereas in Titian’s related (but more erotic) version of the subject at Washington she is shown from the front. On the floor is a pair of amorous doves. Probably a late work of the 1580s, executed with workshop assistance. It was seen by Ridolfi (1648) in the Bevilacqua collection at Verona. (The collection, which was started in the later sixteenth-century by Mario Bevilacqua and housed in the family palazzo on the Corso, was known mainly for its antique marbles but also included Veronese’s Portrait of a Woman with a Dog (now in the Louvre).) Sold by the Bevilacqua to an Englishman, Richard Vickris Pryor, in 1805, and later in the collection of the painter Sir Thomas Lawrence, which was sold at Christie’s in 1830. Acquired by the Joslyn Museum in 1942. Restored for the exhibition Titian, Tintoretto, Veronese held in 2009-10 at Boston and Paris.

Ostuni (near Brindisi). Chiesa dell’Annunziata.
Deposition. Canvas, 280 x 170.
At the foot of the cross, the dead Christ is seated across the Virgin's knees. Mary Magdalene kneels on the right, Joseph of Arimathea kneels on the left and St John the Evangelist stands behind. Towards the top of the cross, two child angels look down, one holding Christ's shroud. This very damaged picture – which is abraded, has been slashed in several places, repaired and restored, and has probably been cut down at the top – was presented to the convent at Ostuni by Andrea Albrizi (or Alberici), the Venetian Vice-Consul in the town. It is traditionally dated 1574, but is sometimes considered later. It was stolen in October 1975 and recovered in March 1977. There were restorations in 1961-62, 1977-78 and 2006-7 (when the picture was installed in a protective display cabinet).

Ottawa. National Gallery of Canada.
Pietà. Canvas, 216 x 243.
Between the two columns on the right, a grape vine is intwined in the branches of a peach tree (symbolising the Eucharist and Salvation). This arched canvas was the top part of a large altarpiece; fragments of the lower part are in Dulwich, Edinburgh and Austin (Texas). The altarpiece was painted in about 1563 for the Petrobelli Altar in the church of San Francesco at Lendinara in the Veneto (near Rovigo and some 50 km. south of Padua). As would be expected of such a large work of this date for a provincial church, it was probably produced with some workshop assistance. After the picture was cut up in about 1788, the Ottawa fragment was sold to a Colonel Campbell. By 1836, it was in the Duke of Sutherland’s collection at York House. It was acquired by Agnew’s in 1924 and shipped to New York for sale. It was damaged on the transatlantic crossing when the hold of the ship was swamped with seawater, and acquired by the Ottawa gallery for a modest price in 1925. Rarely exhibited for many years because of its poor condition, it was restored in 2007-9. The canvas, which had been irregularly cropped and was displayed in a rectangular frame, was returned to its original width and arched shape.
Penitent Magdalen with an Angel. Canvas, 170 x 135.
According to popular legend, the penitent Magdalen lived as a hermit in the wilderness, where she was visited by angels. A mature work, probably painted with studio assistance in the 1560s or 1570s. The distortion of the figure suggests that the painting was intended to be seen from the left, probably on the sidewall of a chapel. First recorded in England in1810; by 1823 it belonged to Jacob Fletcher, and it remained with his descendants until 1922. Acquired by the gallery in 1927.
Rest on the Flight into Egypt. Canvas, 165 x 264.
Joseph fetches water and the angel dates. Egypt, the holy family’s destination, is indicated in the far right distance by the obelisk on the banks of the Nile. Usually ascribed to Veronese’s workshop (though the master’s own touch has sometimes been seen in parts, such as the angel, the Virgin’s face and the Child). Possibly the picture mentioned by Ridolfi (1648) in the house of the Marchese Pallavicini at Genoa. By 1830 it was in the collection of Julian Williams, British Consul to Seville. Acquired by the gallery in 1936. There is a signed variant, in a vertical format, in the Ringling Museum at Sarasota, Florida. A drawing by Veronese at the British Museum (brown ink and wash, heightened with white, on grey tinted paper) may have served as a modello for the Ottawa version. 

Oxford. Ashmolean Museum.
Holy Family with the Infant Baptist and St George. Canvas, 41 x 50.
A variant, about half size, of a painting in the gallery at Vicenza. Probably quite early (early 1550s) and doubtless intended for a private client. First recorded at the end of the nineteenth century in the possession of Sir Richard Green Price. Bought by the Museum in 1952.

Oxford. Christ Church.
Marriage of St Catherine. Canvas, 66 x 87.
A Franciscan saint or donor on the left. This picture has received comparatively little attention in the Veronese literature. It was consigned to the artist’s school by Tancred Borenius (1916 Christ Church catalogue) and by Benedict Nicolson (1964 Burlington Magazine), but catalogued as a ‘fine original’ by Byam Shaw (1967) and accepted as an autograph late work by Pignatti and Pedrocco (1995). One of around 250 paintings bequeathed to the college by General John Guise in 1765.

Padua. Museo Civico.
*Martyrdom of St Giustina. Canvas, 104 x 138.
In the right background, the saint, having left her carriage, is illuminated by a shaft of heavenly light as she prays. From the abbey of Santa Giustina at Padua, where it hung over the Abbot’s private altar. It is sometimes considered earlier than the large altarpiece of 1575 in the church of Santa Giustina. (An engraving of 1691 bears the date 1556, but this is not always accepted as reliable evidence.) There is yet another version in the Uffizi. Transferred to the museum in about 1842.
Martyrdom of St Primus and St Felician. Canvas, 350 x 190.
The brothers Primus and Felician (or Felicianus) were early Christian martyrs: according to their legendary Acts, they were executed together at Nomentum (near Rome) during the persecutions of Diocletian and Maximian. One of two altarpieces commissioned by Abbot Placido da Marostica in about 1562 for the Benedictine abbey church of Santa Maria Assunta at Praglia (some 20 km. south-west of Padua). At the museum since 1886. The companion altarpiece, representing a Glory of Angels, is in the museum of the abbey.
Crucifixion. Slate, 64 x 38.
The only work attributed to Veronese (or his workshop) that is executed on slate. It is a small copy of a picture destroyed in Dresden during the Second World War. From the Benedictine abbey of Santa Giustina at Padua.

Padua. San Francesco.
Ascension. Canvas, 394 x 194.
The altarpiece was commissioned for the Capodivacca altar in the left transept and now hangs on the inner façade. It was probably painted in 1575 (when both Veronese and his brother Benedetto are recorded in Padua). Greatly damaged and restored. The lower part was removed by thieves and then redone (as the inscription states) by Pietro Damini in 1625. The Twelve Apostles at Olomouc (formerly National Gallery, Prague) has been identified as the original lower part. The two parts were reunited for the Veronese e Padova exhibition held at Padua in 2014.

Padua. Santa Giustina.
*Martyrdom of St Giustina. Canvas, 525 x 240.
The Emperor Maximian (far left) orders the execution of the virgin princess, who had refused to sacrifice to the pagan god Mars. Child angels descend from heaven bearing palms and wreaths. The church of Santa Giustina (built on the supposed site of the saint's martyrdom) is shown in the background. The altar was built in 1560, but the picture was not painted until fifteen years later. The first payment was made in October 1574 and the altarpiece was probably completed in 1575. Signed by Veronese alone, but generally believed to have been painted in collaboration with Benedetto Caliari, who is recorded with him in Padua at this time. A highly finished squared drawing for the picture was formerly in the Duke of Devonshire's collection at Chatsworth and is now at the Getty Museum, Los Angeles.

Pallanza (Verbania on Lake Maggiore). Villa Remigio.
Two Allegorical Figures. Canvas, each 200 x 110.
One canvas, showing a beautiful woman gazing down on a putto holding a statue and chisel, clearly represents Sculpture. The other canvas, showing a turbaned man embracing an armillary sphere and reading a book propped against a globe resting on the ground, could represent Astronomy or Geography. The two paintings were in the collection of the Neapolitan poet and musician Marchese Silvio della Valle di Casanova and his wife, the Irish painter Sophia Browne, who built the Villa Remigio at the beginning of the twentieth century. Until 2013, they were attributed to the 'school of Veronese' and virtually unknown. They were then identified (by Cristina Moro, a graduate student at Milan University) as having formed part of the same series of allegorical canvases as two paintings by Veronese now in the County Museum of Art, Los Angeles. Following their discovery and subsequent restoration, the two canvases were shown alongside the Los Angeles pair in exhibitions at Vicenza (2014), Turin (2014-15) and Los Angeles (2015). The Villa Remigio, which was acquired by the regional government in 1977 and is used as offices, may be visited only by appointment.     

Paris. Louvre.
*Holy Family with Saints and a Donor. Canvas, 100 x 99.
St George, holding a broken lance, stands on the left with the dragon dead at his feet. On the right, St Giustina, clutching a dagger and martyr's palm, introduces the kneeling donor. The donor is robed in Benedictine black, and St George and St Giustina were the titular saints of two of the main Benedictine monasteries in the Veneto – San Giorgio Maggiore at Venice and Santa Giustina at Padua. The donor is usually identified as Girolamo Scrocchetto, the abbot who commissioned the Wedding at Cana for the refectory of San Giorgio Maggiore in 1562. Girolamo Scrocchetto is portrayed as a guest on the right of the Wedding at Cana. The donor here is a much younger man; so for the identification to be plausible the painting would have to be an early work, perhaps dating from Scrocchetto's first period as abbot between 1551 and 1554. Xavier F. Saloman (Colnaghi Studies, October 2018) dates the painting later, and suggests that the donor could be Giuliano Careni da Piacenza, the abbot who commissioned the high altarpiece of the Martyrdom of St Giustina for Santa Giustina in 1574. The Louvre painting would be small for a church altarpiece, and may have been commissioned for a private chapel. It was acquired by Louis XIV in 1671 from the German banker Everhard Jabach. (The French king acquired no less than twenty-two paintings by, or attributed to, Veronese between 1662 and 1683, more than half of them from Jabach.)
*Supper at Emmaus. Canvas, 290 x 440.
The subject is from Luke 24: 30-31. Christ, seated between St Peter and the disciple Cleophas, is shown at the moment of breaking bread and revealing his identity. The biblical group at the table is surrounded by the members of an unidentified aristocratic family in sixteenth-century dress. The family comprises a man with his wife (standing on the right, she with an infant in her arms), two other men (possibly his brothers), five boys (one kneeling on the right stroking a small dog) and four girls (two seated in the foreground petting a large dog). The ruined classical building in the left background is the Septizonium (an ancient Roman edifice demolished in the late 1580s). Signed, lower left, on the pavement. This magnificent picture is usually dated around 1555-60, and is possibly the earliest of Veronese’s paintings of biblical suppers. First recorded in 1635 in an inventory of the Duke of Savoy’s collection at Turin, and given shortly afterwards to Maréchal Duc Charles I de Créquy. After the Maréchal was killed at the Siege of Crema in 1638, the cream of his collection passed to Cardinal de Richelieu, who bequeathed the Supper at Emmaus to the young Louis XIII at the same time as the Palais-Cardinal (later the Palais Royal). Always highly valued, it was moved successively from the Palais-Cardinal to the Palais de Fontainebleau, the Palais des Tuileries and the Château de Versailles. Restored in 2010. (The restorers were accused by art conservation pressure groups, ARIPA and ArtWatch, of altering the facial features of the woman standing on the right with a child in her arms.)
*Jove Expelling Crimes and Vices. Canvas, 561 x 330.
Jupiter, accompanied by his eagle, hurls thunderbolts at the Crimes and Vices. Heresy clutches a manuscript and is confronted by an angel with a book; Rebellion has broken the ropes that bound him; False Love of Money presses coins to his head; and Lust forcibly embraces a young woman. The large canvas was originally the central oval of the ceiling of the Stanza del Consiglio dei Dieci of the Doge’s Palace in Venice. The subject relates to the functions of the Council, which was responsible for law and order. The canvas was painted early in Veronese’s career in Venice (1553-54). In 1797 it was taken to Paris, and in 1810 transferred to Versailles, where it was cut to fit the ceiling of the King’s bedroom. It was returned to the Louvre in 1858.
St Mark crowning the Theological Virtues. Canvas, 337 x 317.
Faith holds a chalice, Hope has her anchor, and Charity carries a child. Originally the central square of the ceiling of the Sala della Bussola of the Doge’s Palace. According to Vasari, it was painted by Veronese and Zelotti, but it is usually considered the work of Veronese alone. It probably dates from 1553-54. Like the Jove Expelling Crimes and Vices, it was taken to France in 1797 and installed in a ceiling at Versailles. Transferred to the Louvre in 1861. It was heavily restored, in situ, in 1762.
**Wedding at Cana. Canvas, 666 x 990.
This enormous picture, crowded with around 130 figures, is one of the earliest of Veronese's great Feasts. It was commissioned in June 1562 for the refectory of the Benedictine monastery on the Venetian island of San Giorgio Maggiore. Veronese was to use the most costly and precious pigments and complete the work for the 'festa de la Madonna' in September 1563. He received 324 ducats, a cask of wine and food in the refectory in which he was working. The picture appears to have been an immediate success. Just two years after its completion, a monk at the monastery (Benedetto Guido) claimed that 'all the sculptors and painters come to admire it three, four and six times ... and Paolo is praised with eternal fame'. The canvas was plundered by French troops in 1797, cut in half, rolled up and shipped to Paris. In 1815, the Commissioners, concerned at the difficulties of transporting it back to Italy, exchanged it for Le Brun’s Supper at the House of Simon (which Ruskin said was worth ‘precisely what its canvas may now be worth to make a packing case of it’).
The turning of water into wine is the first miracle attributed to Christ in the Gospel of John (2: 1-11). Immediately above Christ, butchers prepare a lamb for the feast – an allusion to Christ’s future sacrifice. The guests at the feast are said to be contemporary rulers, including Don Alfonso d’Avalos and Eleonore of Austria on the extreme left as bride and groom, Mary Tudor, Francis I of France, Charles V, Suleyman the Magnificent and the Marchesa di Pesara with a toothpick. The bearded master of ceremonies is said to be Pietro Aretino, and the standing cupbearer in brocade robes to the right is said to be a portrait of Veronese's brother Benedetto. Most of these identifications are first found, it seems, in Anton Maria Zanetti's Della Pittura Veneziana (1771), and may be fanciful. It was Marco Boschini (La Carta del Navager Pitoresco (1674)) who recognised the musicians in the centre foreground as portraits of the four great artists of the Venetian Cinquecento: the elderly Titian, in red damask, plays the contra base, Tintoretto plays the violin, Bassano the flute, and Veronese himself the viola da gamba. Along with the bow of his musical instrument, Titian holds the leash of two hunting dogs, and he appears to point at an hourglass on the table. The curly-haired viola da gamba player seated behind Veronese, and apparently whispering in his ear, has been recently identified as the Spanish composer and music theorist Diego Ortiz, who was present in Venice around the time the picture was painted. 
The painting was removed from its frame and rolled up during the Franco-Prussian War (when it was packed in a trunk at Brest) and again during the Second World War (when it was driven around in a truck to keep it from the Germans). It was restored in 1989-92 at a cost of $1 million. After the restoration, it was seriously damaged in two separate accidents. It was first splattered with rainwater when an air vent leaked during a storm. Then, as it was being raised onto the wall, a scaffolding tower collapsed and projecting metal poles ripped through the canvas in five places (the largest tear was four feet long). In 2007 a full-size facsimile was created on canvas to hang where the painting originally hung in the Palladian refectory at San Giorgio.
*Crucifixion. Canvas, 102 x 102.
This relatively small, square canvas is one of Veronese’s masterpieces in the Louvre. The composition – with the three crosses seen from the side against a steely blue-grey sky – is similar to that of the top left-hand part of the large Crucifixion painted by Veronese in 1581-82 for San Niccolò ai Frari (now in the Accademia). The swooning Virgin is supported by St John and tended by one of the Marys. The female figure standing prominently in the centre of the composition, wrapped in a cloak of saffron yellow, has been identified as Mary Magdalene or Synagoga (personification of the Jewish faith), but may be another of the Marys. Mary Magdalene is likely to be the female mourner, with loose fair hair and wearing a red mantle, kneeling at the foot of the cross. Given its modest dimensions and oblique viewpoint, the picture could originally have hung on the right wall of a room or small family chapel. It is uncertain whether it derived from or preceded the Crucifixion from San Niccolò ai Frari. It has usually been dated around 1581-84, but some recent opinion puts it earlier (1575-80). Acquired by Louis XIV from Jabach in 1662.
*‘La Bella Nani’. Canvas, 119 x 103.
The young blond woman wears a magnificent velvet dress, with gold shoulder decoration, cutwork sleeves and a girdle with an enormous gold clasp set with jewels. Her expression is distant, betraying no awareness of the viewer. The picture, in cool blues and silvers, is one of Veronese’s masterpieces in portraiture. It owes its popular name to the fact that it was once identified, without much justification, with a portrait described by Ridolfi (1648) and Boschini (1660) in the Casa Nani at Venice. The picture may date from around the time of Veronese's frescoes at the Villa Barbaro at Maser (late 1550s or early 1560s), and it has been suggested that the sitter could be Giustiniana Barbaro, wife of Marcantonio Barbaro, the younger of the two brothers who jointly owned the villa. (There is a supposed resemblance to a woman, plausibly identified as Giustiniana Barbaro, depicted standing on a fictive balcony in the Sala dell'Olimpo in the villa.) Cooke (2001) conjectured that the sitter could be Veronese’s wife, Elena Badile, whom he married in 1566. The picture is first certainly recorded in the hands of the Abbé Luigi Celotti (a Venetian abbot turned art and book dealer). Later in the collections of Prince Anatole Demidoff (at San Donato, Florence) and Marquise Landolfo-Carcani (Paris), it was given to the Louvre by Baron Schlichting in 1914.
*Portrait of a Woman and Child with a Dog. Canvas, 115 x 95.
This informal portrait is described by Ridolfi (1648) in the Bevilacqua collection at Verona, which was housed in the family’s ornate palazzo on the Corso designed by Sanmichele in the 1530s. The sitter was once supposed to be a daughter of Francesco Bevilacqua, but has been recently identified as Isabella Guerrieri Gonzaga Canossa (the Canossa were related to the Bevilacqua). Isabella was widowed in 1541, and if she were the sitter the portrait would have to be very early (around 1546-48), whereas some critics have considered it a mature work of the late 1550s or 1560s. Removed to France on the orders of Napoleon in 1797.
Christ revives the Daughter of Jairus. Paper on canvas, 42 x 37.
Jairus was 'one of the rulers of the synogogue'; the miracle of Christ raising his twelve-year-old daughter from the dead is related in Mark's Gospel (5, 22-43). This little oil sketch was in the collection of Count Brienne in 1662 and was acquired by Louis XIV from Jabach in 1671 (the subject was then unknown). In 1927 Adolfo Venturi published the oil sketch as Veronese's modello for a lost altarpiece from the Avanzi Chapel in the church of San Bernardino in Verona. The picture, which was one of Veronese’s earliest works, disappeared in 1697 when the Viennese art dealer Pietro Strudem bribed the monks to replace it with a copy. It was a pendant to a canvas by Veronese’s teacher Antonio Badile, which is dated 1546. Some writers (including Pignatti (1995) and Cocke (2001)) have rejected the attribution of the Louvre sketch to Veronese, considering it to be rather an early copy of the lost altarpiece. 
Seven Planetary Gods. Fresco on canvas, 350 x 265.
Removed from the ceiling of the Sala Meridionale in the Palazzo Trevisan at Murano. Very damaged, restored and divided into two parts. On one part, Venus, Saturn and Mercury; and on the other, Jove, Apollo, Diana and Mars.
Susanna and the Elders (198 x 198); Esther and Ahasuerus (198 x 306).
Two of a set of four canvases, now of varying shapes and sizes, depicting heroines from the Old Testament. The other two are at Caen (Judith and Holofernes) and Versailles (Eliezer and Rebecca). The two Louvre paintings were originally the same size and have been substantially cut down. The Susanna has lost around 120 cm. from its width, and both pictures have lost around 40 cm. from their height. The complete set of four canvases is mentioned by Ridolfi (1648) in the Casa Bonaldi at Venice. Acquired by Louis XIV from Jabach in 1662. The execution is usually ascribed, at least in part, to Veronese’s workshop or to Benedetto Caliari.
Flight of Lot. Canvas, 93 x 120.
A replica, from Veronese’s workshop, of a much larger painting at Vienna. The Vienna picture was part of a cycle of ten biblical scenes (the so-called ‘Duke of Buckingham series’), but the Louvre version is not known to have belonged to a similar series. Seized by revolutionaries in 1796 from the collection of the Duc d’Orléans at the Château de Monceaux.
Christ under the Cross. Canvas, 57 x 73.
Often consigned (perhaps harshly) to Veronese’s workshop. Acquired by Louis XIV in 1671 from ‘Sieur de La Feuille’.

Paris. Château de Versailles. Salon d’Hercule.
Feast in the House of Simon. Canvas, 454 x 874.
This huge picture was painted for the refectory of the monastery of Santa Maria dei Servi in Venice, where it was mentioned as a work of Veronese by Ridolfi in 1648. At the suggestion of the diplomat Alvise Molin, it was given by the Venetian Republic to Louis XIV in 1664 as a diplomatic gift. Originally displayed in the Galerie d’Apollon, it was installed in the Salon d’Hercule in 1730. It was transferred to the Louvre in 1832, but returned to Versailles in 1961. Restored in 1994-97. Similarities with the Feast of St Gregory (Monte Berico, Vicenza) and Christ in the House of Levy (Venice Accademia) suggest that it was painted around 1572-73. Workshop participation seems inevitable for a canvas of such size, with some critics seeing the hand of Benedetto Caliari.
Rebecca and Eliezer at the Well. Canvas, 366 x 240.
Rebecca has demonstrated her kindness to Eliezer, Abraham's servant, by giving him water from her jar and drawing water for his camels. He presents her with a gold nose ring and two gold bracelets (Genesis 24: 11-22). The picture hangs on the opposite wall to the Feast, over the monumental fireplace. From a series of four canvases depicting Old Testament heroines; two of the others are in the Louvre and one is at Caen. It has been enlarged.

Pavia. Musei Civici (Pinacoteca Malaspina). 
Saint Jerome. Canvas, 80 x 95.
The elderly penitent saint, depicted half-length against a background of dark rock, his bare chest flecked with blood, clutches a stone in his right hand, rests his left hand on an open book and contemplates a crucifix tied to a tree stump. The painting largely replicates the figure of the saint in an altarpiece painted by Veronese in 1562 for San Benedetto Po. (The altarpiece was lost in a fire in London in 1836, but the composition is known from an old copy.) The Saint Jerome is attributed to Veronese in the museum catalogue (2011), but there appears to have been comparatively little other literature on the painting. Bequeathed in 1854 by Marchese Francesco Belcredi. The bottom edge is repainted. 
On deposit from the Brera.
Doctors of the Church. Canvas, 335 x 177.
St Ambrose and St Augustine are on the left; St Gregory and St Jerome on the right. On clouds overhead, angel musicians play a flute, trombone and strings (vielle, lira da braccio and viole da gamba). The arched canvas, divided into two parts, was painted around 1584-86 for the organ shutters of the church of Ognissanti in Venice. It decorated the inside of the shutters and the Adoration of the Magi (currently on deposit from the Brera to the Italian Senate in Rome) decorated the outside. The canvases are attributed to Veronese's workshop. The Doctors of the Church was formerly on deposit at the Seminario Arcivescovile di Venegano.

Philadelphia. Museum of Art (J. G. Johnson Collection).
Portrait of an Admiral (Girolamo Contarini or Matteo Calergi?). Canvas, 126 x 113.
On the breastplate are painted the Lion of St Mark and a coat-of-arms (usually identified as that of the Contarini family). The same sitter – attired in civilian satin and furs – appears in a portrait at Dresden, which is traditionally said to represent Alessandro Contarini but was identified some years ago as a portrait of Girolamo Contarini. (Girolamo (died 1577) was a Venetian admiral, and it has been suggested that the portrait could have been commissioned upon his retirement to hang in the naval offices.) The Contarini identification has recently been doubted, however, and the sitter has been named as the Veneto-Cretan aristocrat Matteo Calergi (1523-72). The portrait was once dated to the 1550s, but is probably later (around 1570-71) and may have been executed mainly by assistants. Once at Hamilton Palace, it was sold in London in 1882 (as a Titian) and acquired by Johnson in 1895.

Praglia (near Abano Terme). Abbey.
Glory of Angels. Canvas, 350 x 190.
Four angels, who have put down their musical instruments and scores, gaze heavenwards as two other angels descend with branches of palm and olive. One of two altarpieces commissioned by Abbot Placido da Marostica in about 1562 for the abbey church of Santa Maria Assunta. Now in the abbey’s museum, it originally hung in the right side chapel. The companion altarpiece is in the Museo Civico at Padua.

Prague. Prague Castle Gallery.
Portrait of Jacob König. Canvas, 83 x 74.
The subject’s name, nationality and profession are inscribed along the top. Signed on the left. Hans Jacob König (or Kinig) was a German goldsmith who worked in Venice and Florence in the 1570s. He bought works of art for Rudolph II and eventually settled in Prague. The portrait has been recorded at Prague Castle since 1685.
Washing of the Feet; Adoration of Shepherds. Canvas, 139 x 283/284.
These two pictures are from a major series of ten canvases illustrating scenes from the Old and New Testaments. The ten paintings are first recorded in 1613 in an inventory of the estate of Charles III de Croy and were later (by 1635) in the collection of the Duke of Buckingham. They were among some one hundred paintings from the Buckingham collection acquired for Prague Castle by Archduke Leopold Wilhem at Antwerp in 1650, as replacements for the pictures plundered by the Swedish army during the Sack of Prague (1648). The pictures remained together until 1723, when two were taken from Prague Castle to Vienna. Six more followed in 1876. The two pictures that remained at Prague were rediscovered in 1963, after passing under various attributions. They are considered late works of the 1580s. The Washing of the Feet has sometimes been judged substantially autograph, while the Adoration may have been merely ‘supervised’ by Veronese.
St Catherine with an Angel. Canvas, 72 x 54.
Recorded at Prague Castle since 1685. It was set into the wood panelling of the staterooms of the Imperial Palace and its width altered. Previously repainted, it was restored in 1962-63. Late (about 1580).

Raleigh (North Carolina). Museum of Art.
Baptism of Christ. Canvas, 86 x 117.
Critical opinion of this picture has been divided. Some critics (Shapley in 1973 and Cocke in 1984) have considered it a school work, while others (including Pignatti and Pedrocco in their 1995 monograph on Veronese) have judged it an autograph early picture (about 1550). The poses of Christ and the Baptist are repeated in an altarpiece in the Redentore, Venice. First recorded early in the nineteenth century in the Palazzo Stigliano, Naples. Allocated to the Raleigh Museum by the Kress Foundation in 1960.

Rennes. Musée des Beaux-Arts.
Perseus and Andromeda. Canvas, 260 x 211.
Perseus, wearing the winged sandals given him by Mercury, swoops down to rescue the beautiful princess Andromeda, who is chained to a rock on the sea shore as a sacrifice to the sea monster sent by Poseidon (Ovid's Metamorphoses, Book IV). The composition is evidently based on Titian’s picture for Philip II of Spain (now in the Wallace Collection); but Titian’s composition – which shows Andromeda bound to the rock on the left and the airborne Perseus on the right – has been reversed. It is not known who commissioned the Rennes picture, which is first recorded in the collection of Nicolas Fourquet, the French finance minister. Fourquet's property was impounded in 1662, when he was accused of embezzlement, and the Perseus and Andromeda was acquired by Louis XIV in 1665. It hung at Versailles until the end of the seventeenth century and was then moved to the Château de Meudon (acquired by Louis XIV in 1695). It was sent to Rennes by 1801. The Veronese attribution is traditional. It has occasionally been questioned, and in the mid-twentieth century there were attributions to Carletto Caliari (Veronese's youngest son) and to Francesco Montemezzano (a close follower). There is a derivation, dated 1723, by the French painter François de Moyne in the Wallace Collection.

Rimini. San Giuliano.
Martyrdom of St Julian. Canvas, 325 x 175.
St Julian of Antioch is said to have been martyred by being sewn into a bag full of venomous snakes. The picture still hangs over the high altar of the church, above the Roman sarcophagus said to contain the body of St Julian. A late work (about 1580), executed partly by Veronese’s workshop (Benedetto Caliari(?)). Restored in 1991.

Rome. Galleria Borghese.
*Saint John the Baptist Preaching. Canvas, 208 x 140.
The Baptist addresses a group of priests and Levites richly dressed in Oriental costume. Stepping towards the viewer, he gestures towards Christ, who appears as a pale figure in the left background. To judge from its size and format, the picture was probably painted as an altarpiece, and its low horizon line suggests that it was intended to be hung rather high. It is usually identified as the painting (of unspecified subject) by Veronese mentioned in a letter of 5 September 1607 as a gift from the Patriarch of Aquileia, Francesco Barbaro, to Cardinal Scipione Borghese. If that identification is correct, the painting is likely to have been commissioned by Francesco Barbaro's uncle, Daniele Barbaro (who died in 1570). The painting may date from the early 1560s. (The two turbaned figures on the far right are very similar, in reverse, to those on the far left of the Consecration of Saint Nicholas of 1562 in the National Gallery, London.)
*St Anthony Preaching to the Fishes. Canvas, 112 x 157.
St Anthony (1195-1231) was Portuguese by birth, but is called of Padua because it was where he spent his latter years and where his relics are preserved. According to legend, he preached to the fishes when the population of Rimini had refused to listen to him. In Veronese’s picture, the saint, towering over the other figures on the seashore, points out to sea, where the fish have risen to the surface to listen to his sermon. A late work, painted in twilight, brownish and greenish tones. Like the Saint John the Baptist Preaching, the painting is usually assumed to have been given to Cardinal Scipione Borghese by the Patriarch of Aquileia.

Rome. Pinacoteca Capitoline.
*Peace; Constancy. Canvas, 105 x 64.
Peace sets fire to a pile of military equipment, and Constancy (alternatively called Temperance, Harmony or Good Administration) holds a ship’s rudder. The two canvases, which were originally oval, were evidently part of a ceiling decoration. The Allegory in the Vatican Gallery was the octagonal centrepiece. Marinelli (1980) suggested that the three canvases came from the Palazzo da Porta, though this has sometimes been doubted. The palazzo, built at Vicenza to a design of Palladio, was finished in 1552. The canvases were removed in the mid-eighteenth century and replaced by frescoes by Giandomenico Tiepolo. Acquired by Pope Benedict XIV from the Pio da Carpi family.

Rome. Galleria Colonna.
*Portrait of a Man. Canvas, 125 x 94.
The elegant gentleman, richly dressed in a fur-trimmed coat over a doublet of shimmering blue silk, poses with one hand on his hip and the other placed on a table covered with an Oriental carpet. A heavy green curtain hangs in the upper right background. This fine portrait is probably a late work of the 1580s. It entered the Colonna collection with the inheritance of Caterina Zeffirina Salviati, who married Fabrizio II Colonna in 1718, and it is recorded with an attribution to Veronese in Colonna inventories from the eighteenth century. The subject was once thought (quite improbably) to be the famous condottiere Stefano Colonna.

Rome. Vatican Pinacoteca.
*Vision of St Helena. Canvas, 166 x 134.
The True Cross, supported by a putto, appears to the saint as she sleeps. The picture, which was acquired by Pope Benedict XIV from the Pio da Carpi family in the mid-eighteenth century, may date from about 1580. Small for a church altarpiece, it was more probably a private devotional work – possibly painted for a lady called Elena (conceivably even Veronese’s wife Elena Badile). There is a very different, probably earlier, painting of this unusual subject by Veronese in the National Gallery, London.
*Allegory of the Liberal Arts. Canvas, 105 x 105.
The female figure on the right wears a laurel wreath and presumably represents Poetry. A winged genius grasps her wrist and offers her a gold casket. A putto holds a picture and an architect a plan. This octagonal canvas was clearly the centre of a ceiling decoration, which also included two rectangular canvases in the Capitoline Gallery. They may have come from a small room, perhaps a study, in the Palazzo da Porta at Vicenza, which was decorated by Veronese, Zelotti and other artists in 1551-52. Acquired by the Vatican Museum from the Sacchetti family of Rome.

Rome. Palazzo di Montecitorio. Sala Gialla.
Wedding at Cana. Canvas, 379 x 970.
This huge canvas was commissioned around 1580 for the refectory of the Benedictine nunnery of San Teonisto at Trevisio. It appears to have been executed mainly by Veronese's workshop (including Benedetto Caliari and possibly his young assistant Francesco Montemezzano). The woman sitting on the near side of the table, almost opposite Christ, is probably a portrait of Cecilia Onigo, who was abbess of San Teonisto from 1568 to 1581. After the convent was closed in 1810, the picture was taken to the Brera in Milan. It was transferred to the Palazzo di Montecitorio in 1926. The Palazzo di Montecitorio – seat of the Italian Chamber of Deputies – is occasionally open to the public (usually on the first Sunday of the month).   

Rotterdam. Boymans van Beuningen Museum.
Portrait of a Boy. Canvas, 31 x 22.
The year 1558 is inscribed top left and the sitter’s age, 13 or 15, top right. Before the War, this charming portrait was in the huge collection of the Dutch art dealer Jacques Goudstikker in Amsterdam. Acquired in 1958.
Supper at Emmaus. Canvas, 66 x 79.
A smaller version of the picture at Dresden, which is in turn a variant of the central part of the famous painting in the Louvre. Noted by Ridolfi (1648) in the Muselli collection at Verona. Subsequently in the Orléans collection in Paris, the Duke of Sutherland’s collection in London, and the collection of the banker Stefan von Auspitz in Vienna. When Auspitz’s bank failed in 1931, his collection was seized by the Austrian government and sold to Daniel George van Beuningen.

Rouen. Musée des Beaux-Arts.
*Miracle of St Barnabas. Canvas, 260 x 193.
According to the Golden Legend, St Barnabas the Apostle took on his mission to Cyprus a copy of St Matthew's Gospel. 'He held the book over sick people and thus, by the power of God, cured many.' The picture is an altarpiece from the church of San Giorgio in Braida, Verona, where it hung beneath the organ. The subject was presumably chosen because the church was built on the site of a hospital dedicated to St Barnabas. Probably painted around 1566, when Veronese completed the Martyrdom of St George for the high altar of the church. Removed on Napoleon’s orders in 1797, and given to the City of Rouen in 1803.
Risen Christ with SS. Roch and Sebastian. Canvas, 340 x 220.
SS. Roch and Sebastian implore Christ in the heavens to stop the plague. The altarpiece from the main chapel of the Jesuit church of San Rocco at Parma. The church is shown under construction in the background. A very late work (the altar was consecrated in 1589), executed partly by Veronese’s workshop (the upper part has been ascribed to Carletto Caliari). Removed to Paris in 1797 and deposited at Rouen in 1803.

St Petersburg. Hermitage.
*Holy Family with St Catherine. Canvas, 146 x 205.
St Catherine kneels to kiss the Christ Child. Joseph stands behind the Virgin, leaning on a pedestal, and the elderly St Anne is seated on the right, holding a scroll. A very early work (about 1548), close in style to the Bevilacqua-Lazise Altarpiece in Verona (which has almost identical figures of angels). Acquired by Catherine II of Russia in 1772 from the Crozat collection.
*Pietà with the Madonna and an Angel. Canvas, 147 x 112.
The dead Christ, seated on a rock covered by his shroud, is supported from behind by the Virgin, who places her cheek against his forehead. An angel, represented as an adolescent boy, gently takes his hand, which bears the mark of the nail. The crown of thorns lies on the ground in the bottom left corner. This quietly melancholy picture was painted for the church of SS. Giovanni e Paolo in Venice, where it is recorded by Borghini in 1584. X-rays show the head of a second angel on the left, which was painted out by Veronese himself. The picture was removed from the church in the seventeenth century and acquired by Catherine II from the Crozat collection. It must date from before 1582, when it was one of six painting by Veronese engraved by Agostino Carracci. Veronese and his workshop represented the Dead Christ at least eight times – twice in large church altarpieces and some half-dozen times in smaller devotional canvases. The composition of the Hermitage version is related to that of the Dead Christ in Ottawa – a fragment of an altarpiece dating from about 1563. There is a smaller variant, in which a second angel takes the place of the Virgin, at Boston.
Diana the Huntress. Canvas, 28 x 16.
This small canvas and the Minerva now in Moscow were in the possession of a Veronese physician named Curtoni at the end of the seventeenth century. They were bought by the Duke of Mirandola in 1718, and later acquired by Catherine II from the Crozat collection. A third canvas from the series, representing Painting, is in Detroit.
Crucifixion (Nailing to the Cross). Parchment (now mounted on panel), 16 x 20.
The attribution of this tiny picture to Veronese is traditional and seems never to have been doubted. The composition draws on a woodcut of the Nailing to the Cross in Dürer’s Small Passion series. From the Crozat collection.
Adoration of the Magi. Copper (transferred from panel), 45 x 35.
The composition of this small picture is closely related to that of a large canvas painted by Veronese in 1581-82 for the church of San Niccolò ai Frari (now mounted on the ceiling of the Cappella del Rosario in SS. Giovanni e Paolo). First recorded in France in the seventeenth century, when it is said to have been surreptitiously taken by the Chevalier d’Avice from the collection of Maréchal Duplessis-Plaslin and replaced by a copy. Yet another of the pictures acquired by Catherine II in 1772 with the Crozat collection.
Raising of Lazarus. Canvas, 260 x 246.
A grisaille (a technique very rarely used by Veronese). Previously completely unknown, the picture was in very poor condition when it was transferred to the Hermitage from the St Petersburg Academy of Arts in 1931. Restoration in 1973 revealed Veronese’s signature and the date 1584 (lower left).
Resurrection of Christ. Canvas, 130 x 95.
Christ, arms spread in the form of a cross, hovers above his open sarcophagus in an aureole of divine light. In the centre background, the angel reveals the empty tomb to the Marys. The picture, which may date from the early 1570s, is loosely related in composition to the Resurrection at Dresden, and there are later versions of this subject by Veronese (and/or his workshop) in the church of San Francesco della Vigna in Venice, the Chelsea and Westminster Hospital in London, and the Pushkin Museum in Moscow. Transferred to the Hermitage in 1926 from the Gatchina Palace. 
Portrait of a Man (so-called Self-Portrait). Canvas, 63 x 51.
The man, shown bust-length against a plain background (now greenish-brown), is probably in his thirties, has short-cropped hair and full beard, and wears a dark tunic buttoned high at the neck. The portrait has been claimed to be of Veronese himself. The buttons on the tunic are on the wrong side for a man, suggesting that a mirror could have been used. However, the resemblance with other presumed self-portraits of the artist (such as the man playing the viola in the Louvre Wedding at Cana and the hunter in the Villa Barbaro at Maser) seems rather weak. The picture was acquired as a work of Veronese with the Crozat collection in 1772 – and not (as usually stated) with the Barbarigo collection in 1850. Its provenance can be traced back to the Muselli collection in Verona, which was purchased in 1685-86 by agents of Jean-Baptiste Colbert, Marquis de Seignelay, and brought to France, It is one of only twenty independent portraits presented as autograph in John Garton’s 2008 book on Veronese’s portraits. However, Xavier Salomon (in a book review in the August 2008 Burlington Magazine) describes it as ‘rigid and unaccomplished’.

San Diego. Museum of Art.
Apollo and Daphne. Canvas, 109 x 113.
Apollo, about to rape the nymph, checks in astonishment as she is transformed into a laurel tree. In the nineteenth century, the picture was in the Earl of Yarborough’s collection in London and at Brocklesby Park. It was left to the San Diego Museum in 1945 with the Putnam collection, and in the same year was published as a work of Veronese in Wilhelm Suida’s 1945 monograph on the artist. Once considered an early work, it is now usually dated to the mid-1570s.
‘Sacra Conversazione’. Canvas, 103 x 157.
The Christ Child leans towards St Giustina (or Catherine); St Elizabeth, on the left, rolls swaddling clothes. Perhaps a picture noted by Ridolfi (1648) as still with Veronese’s heirs. It seems to have passed through the hands of the Venetian dealer Abate Luigi Celotti, was sold in Paris in 1831, and was later in small English private collections. Acquired by the Putnam Foundation in 1956. Comparison with an engraving by Courtois reveals that the picture has been cut down at both top and bottom. According to Pignatti and Pedrocco (1995), it was executed by a workshop collaborator (perhaps Benedetto Caliari) from Veronese’s design.

San Francisco. De Young Memorial Museum.
Mocking of Christ. Canvas, 114 x 137.
A very late work, recalling Titian’s great Crowning with Thorns at Munich. Little is known of the history of the picture, which was published as a work of Veronese only in 1961 (by Wilhelm Suida in Arte Veneta) and is on loan to the museum from the Stauffer-Sigall Foundation.

Sarasota. Ringling Museum.
*Rest on the Flight into Egypt. Canvas, 236 x 161.
The Holy Family, resting under a palm tree, are helped by angels, who pick dates from the tree, groom the donkey and wash the linen. Signed on the rock beneath the Virgin. The picture is not mentioned in early sources, and was probably an altarpiece from a provincial church. By 1778 it was in the collection of the Elector Palatine at Düsseldorf. Sold by the Alte Pinakothek at Munich (where it was catalogued as a work of Carletto Caliari) in 1926. A horizontal variant at Ottawa shows Joseph standing on the right rather than seated on the left.
Portrait of Francesco Franceschini. Canvas, 188 x 135.
This rather worn portrait is inscribed at the base of the column with the name of the sitter – a nobleman from Vicenza – and the date 1551. It is the earliest dated portrait attributed to Veronese. Formerly in the collection of the Marchese Pallavicini at Genoa and then the Holford collection at Westonbirt, with an attribution to Romanino. Attributed to Veronese in 1928 by Brizio (L’Arte) and Adolfo Venturi (Veronese). It has also been attributed (eg. by W. R. Rearick (1990)) to Domenico Brusasorci, an older painter from Verona.

Seattle. Art Museum.
*Venus and Adonis. Canvas, 225 x 168.
The two lovers are seated under a myrtle tree. The myrtle was sacred to Venus, and Adonis was born from a myrtle tree. The shattered tree trunk behind Adonis may allude to his impending death. Signed on the rock on the right. Probably the ‘new conception by Veronese of Adonis with Venus and Eros, who is holding back a greyhound’ mentioned by Ridolfi (1648) as acquired by Monseigneur de Housset, the French ambassador. By 1860, it was in the Cook collection at Richmond. Acquired by Samuel H. Kress in 1948 from Contini Bonacossi. Somewhat abraded (eg. in the faces and bodies), it was long ascribed to Veronese’s studio or school, but is now commonly accepted as an at least partly autograph work of about 1580.

Stamford. Burghley House.
Saint James; Saint Augustine. Canvas, each 200 x 85.
From the Augustinian convent church of San Giacomo on the island of Murano. They decorated the shutters of the organ, and would have been seen when the shutters were open. The reverse sides showed the Mystical Marriage of St Catherine (last recorded in 1778, when they were sold by Lord Clive at Christie’s for 21 gns). The two canvases have been cut down by perhaps 10 cm. on all sides, removing part of the architectural setting. They hang in the private apartments (Red Drawing Room).
Christ with Zebedee’s Wife and Sons. Canvas, 270 x 150.
Installed in the chapel at Burghley House. The unusual subject is from Matthew 20: 20-23. The wife of Zebedee (shown with her husband on the right) asked Christ if her two sons (the apostles James and John, shown in the centre of the composition) could sit next to him in Heaven. Christ replied that they 'shall indeed drink of my cup', but refused her request. He points towards Heaven, where God the Father appears above two angels holding a Eucharistic chalice. The tall canvas was painted for the high altar of the church of San Giacomo and was acquired, along with the two organ shutters, by the 9^th Earl of Exeter in 1769. Veronese’s paintings for the church were described in 1646 by Carlo Ridolfi and probably date from 1577-78. They also included, for two side altars, a Visitation (now in the Barber Institute at Birmingham) and a Resurrection (now in the Chelsea and Westminster Hospital, London). The pictures have sometimes been attributed to the artist’s studio or (specifically) Benedetto Caliari.
Rebecca at the Well. Canvas, 105 x 130.
Rebecca is offered jewels by Eliezer and his two servants and fastens a bracelet round her wrist. Cut down substantially on the right (where only the head remains of the camel being flogged by a groom). One of several paintings of this subject by Veronese and his workshop; there are others, all of different designs, at Washington (from the ‘Duke of Buckingham series’ of ten biblical scenes), at Versailles (from a set of four canvases depicting Old Testament heroines) and in the Earl of Yarborough’s collection at Brocklesby Park. Usually called a studio work, but championed as an autograph late Veronese of around 1583-84 by Roger Rearick in his catalogue to the 1988-89 exhibition at Washington. The picture is one of a number of works by Veronese listed in the 1662 inventory of the celebrated collection of Cristoforo and Gian Francesco Muselli at Verona. It was probably acquired by Brownlow Cecil, 9th Earl of Exeter, at the Paris sale of Louis de Noailles, Marshal of France. Recorded at Burghley since 1815. Hung in the private apartments.

Stockholm. Nationalmuseum.
Venus mourning Adonis. Canvas, 145 x 173.
Adonis, the beautiful youth loved by Venus, was accidently killed by a boar when out hunting, and anemones sprung from his blood (Ovid's Metamorphoses: Book X). Adonis's head is supported by Cupid, while Venus covers his gored body with her cloak and takes his hand. In the left background, the wounded boar is attacked by dogs and fired at by Cupid with his bow and arrow. The canvas, originally upright in format, has been cut down considerably at the top, reducing the height by more than a third. The missing section showed Venus's empty chariot in the sky. (The complete composition is known from a late eighteenth-century print by Jean Baptiste Patas.) The picture is recorded in the 1621 inventory of Rudolph II's collection at Prague. It may have been a pendant to the Cambridge Hermes, Herse and Aglauros – the two pictures were of the same size and similarly framed when they were acquired by the Duc d'Orléans in 1721. It was one of many Italian paintings from the Orléans collection bought by the Duke of Bridgewater in London in 1798. It remained in the Bridgewater collection until 1946, when it was sold at Christie's for 1,900 guineas and donated to the Swedish gallery by the Friends of the Nationalmuseum.        

Strasbourg. Musée des Beaux-Arts.
*Cephalus and Procris. Canvas, 162 x 190.
According to the classical story (told by Ovid both in Ars Armatoria and Metamorphoses) Procris gave her husband Cephalus a magic dog and a magic spear; Procris, thinking Cephalus unfaithful, hid in a bush, where Cephalus killed her by mistake with the spear while out hunting. A companion painting to the Venus and Adonis in Madrid. They are late works; Borghini described them in 1584 as having been painted recently. They remained in Venice until about 1650, when Velázquez acquired them both for the Spanish royal collection. During the French occupation of Spain, the Cephalus and Procris fell into the hands of Joseph Bonaparte. After passing through private collections in England and Germany, it was acquired by the Strasbourg Museum in 1912.

Tokyo. National Museum of Western Art.
*Mystical Marriage of St Catherine. Canvas, 84 x 100.
St Joseph behind St Catherine, and the infant Baptist with the lamb in the bottom left corner. The picture is a comparatively recent discovery. Previously in a private collection in Switzerland, it was restored in 1987 at the Metropolitan Museum, New York. Cleaning revealed, beneath overpaint, the shield in the upper left corner bearing the coats-of-arms of the Pindemonte (pine trees) and Torre (tower) families of Verona. As recognised by Diana Gisolfi (November 1995 Burlington Magazine), the picture was almost certainly commissioned to celebrate the marriage of Giambattista di Pindemonte and Anna della Torre in 1547. It is therefore one of Veronese’s very earliest dateable works. X-rays made in 1987 revealed the rubbed-down figure of a man or youth kneeling on the right, behind St Catherine. It is uncertain whether this figure was part of the original composition. The picture was bought by the Tokyo museum in 1994.

Torcello. Museo Provinciale.
Adoration of Magi (235 x 137); Annunciation (275 x 187).
These pairs of canvases (later joined together as single compositions) covered the doors of the organ in the church of Sant'Antonio Abate on Torcello. The Adoration of the Magi was on the outside of the doors and the Annunciation was on the inside. They are products of Veronese's late workshop (1580s). Five grisaille paintings from the parapet of the organ loft – three from the front and two from the ends – are also in the museum. A pair of reclining sibyls, which framed the top of the organ case, are now in the Libreria Marciana at Venice. The Benedictine monastery church of Sant'Antonio, now largely demolished, was closed in Napoleonic times. The organ canvases were taken to Vienna but were returned to Venice after the First World War. They had entered the Torcello museum by 1929 and were restored in 1988.
The Torcello museum also has four paintings by Veronese's late workshop of scenes from the Life of Saint Christina. These were part of a cycle of nine canvases commissioned for Sant'Antonio. One of the other canvases is in Bergamo, two are in Stuttgart and two are lost. 

Treviso. Santa Maria Maddalena.
'Noli me Tangere'. Canvas, 400 x 180.
The scene of the kneeling Mary Magdalene reaching out towards Christ is witnessed by the bowing figures of a bearded donor and Mary Magdalene's sister Martha. Above, Mary Magdalene ascends to heaven between the Baptist and St Jerome, who are kneeling on clouds. This large picture – the main altarpiece of the church – is described by Ridolfi (1648) as a work of Veronese, but modern critics tend to ascribe the execution to his workshop (or Benedetto Caliari). The picture is mentioned in a letter, dated 20 March 1578, from Veronese to the Treviso humanist Marcantonio Gandino. Ridolfi (1648) says that Veronese also painted a processional banner for the church. This is probably the Assumption of Mary Magdalene now at Dijon.
The Crucifixion over the left altar of the church is a variant of Veronese's altarpiece at San Sebastiano, Venice. It is usually ascribed to Carletto Caliari, but is more probably a workshop collaboration.

Turin. Galleria Sabauda.
*Feast in the House of Simon. Canvas, 315 x 451.
The episode of Christ having his feet anointed by a 'sinful woman' while seated at dinner in the house of Simon the Pharisee is found in Luke 7: 36-39. Traditionally, the 'sinful woman' was conflated both with the (apparently virtuous) Mary of Bethany (who anoints Christ's feet in John 11: 1-12) and Mary Magdalene (who brought spices to anoint Christ's body in the tomb). The picture is from the refectory of the Benedictine monastery of Santi Celso e Nazaro at Verona. The prior of the monastery, Mauro Vercelli, who commissioned the painting, appears in profile on the right. The canvas is Veronese’s earliest surviving large supper scene. Ridolfi says that it was painted in 1560, when Veronese visited his parents in Verona. However, it could be slightly earlier still, and a payment of ten crowns by Mauro Vercelli on 3 January 1556 may refer to the picture as work in progress. It was sold in 1646 to the monks of the Spinola, Genoa, for 8,000 ducats. It was acquired by Carlo Felice of Savoy in 1824, and taken to Turin by Carlo Alberto in 1837 and displayed in the Palazzo Madama. There is a copy by Tiepolo, commissioned by the Venetian polymath Count Francesco Algarotti, in the National Gallery of Ireland.
*Queen of Sheba before Solomon. Canvas, 344 x 545.
The Queen of Sheba, having heard of Solomon's wisdom, came to Jerusalem with 'spices and with very much gold and precious stones' (I Kings 10: 1-2). Painted for Duke Carlo Emanuele I of Savoy, who is probably portrayed as the youthful Solomon. The picture must date between 1580, when the eighteen-year-old Carlo Emanuele acceded to the Dukedom, and 1584, when it is mentioned in Borghini’s Riposo. Veronese was probably recommended to the young Duke by Francesco Barbaro, the Venetian ambassador to the court of Savoy. (Francesco was the son of Marcantonio and the nephew of Daniele Barbaro, for whom Veronese had decorated the family villa at Maser some twenty years before.) The execution may be largely by Veronese’s workshop. Thoroughly restored in 2009-13.
Finding of Moses. Canvas, 337 x 510.
Generally assumed to have been painted for Duke Carlo Emanuele I of Savoy at the same time as the Queen of Sheba before Solomon. Usually considered to be a workshop production after Veronese’s own design, and the execution has sometimes been ascribed to Benedetto Caliari. The composition appears to have been influenced by Raphael’s fresco in the vaulting of the Vatican Loggia. Three other pictures painted for Duke Carlo Emanuele (an Adoration of the Magi, a David with the Head of Goliath and a Judith) are presumed lost. Cut down by around 35 centimetres on the left.
*Mars and Venus. Canvas, 47 x 47.
In a humorous treatment of the subject, Cupid interrupts the lovers by leading Mars’ warhorse into their bedroom. Possibly the picture noted by Ridolfi in the house of Cristoforo Orsetti at Venice. It once belonged to the painter Sir Thomas Lawrence in England. It was given to the Italian State with the Gualino collection, and it hung for a time in the Italian Embassy in London, before entering the Sabauda Gallery in 1945. Opinions on dating range from the early 1560s to the 1580s.

Venice. Accademia.
*Madonna enthroned with Saints ('Pala Bonaldi'). Canvas, 339 x 191.
The Virgin is enthroned high on a marble pedestal in front of a niche decorated with gold mosaic. St Joseph is on the right, and the infant Baptist stands on the front of the pedestal gazing up at the Christ Child. The female saint, standing on the left with a huge martyr's palm, is conventionally identified as Giustina. St Francis leans forward to support the Baptist and introduce him to the Christ Child. St Jerome, identified by his cardinal's scarlet robes, stands on the right, holding his Vulgate Bible and resting his elbow on the pedestal. The picture was commissioned by Francesco Bonaldi, a textile merchant and procurator of San Marco, as the altarpiece for his funerary chapel in the sacristy of the Venetian church of San Zaccaria. It probably dates from around 1562, when the sacristy was restored at Bonaldi's expense (200 ducats). (A sketch on the back of the canvas bears the date 1564.) Francis and Jerome were the name saints of Bonaldi and of his brother Girolamo (who had recently died). The picture entered the Accademia in 1815, on its return from Paris where it had been taken in 1797.
*Allegory of the Battle of Lépanto. Canvas, 169 x 137.
In the clouds above the battle, Saints Peter (representing the Papacy), James (representing Spain), Giustina (on whose feast day the battle took place) and Mark (patron of Venice) pray to the Virgin for victory. An ethereal host of angels make music, while an airborne angel on the right hurls down burning arrows on the Ottoman fleet. The great sea battle took place on 7 October 1571. The picture was probably painted shortly afterwards for Pietro Giustinian of Murano, who took part in the battle. It was probably executed by assistants from Veronese's drawings. Until 1812 it hung to the left of the altar of the Rosary in the church of San Pietro Martire at Murano. Ridolfi (1648) describes another, larger version of the subject in the possession of the Caliari family; this showed the Virgin praying before the Trinity, with a personification of Venice between St Mark and St Giustina.
**Feast in the House of Levi. Canvas, 555 x 1280.
This vast picture – the largest of all Veronese’s feast scenes – is divided like a triptych by the great arches of an imaginary loggia; Christ sits in the very centre between St Peter and St John, with Judas and the host on the other side of the table. It was painted for the refectory of the Dominican convent of Santi Giovanni e Paolo to replace a painting of the Last Supper by Titian destroyed in 1571 by a fire. The patron, Andrea de’ Buoni (or Buono) was a friar staying at the monastery as a guest. The picture is dated 20 April 1571. On the 18 July of that year, Veronese was summoned before a tribunal of the Inquisition accused of indecorum through the introduction of ‘drunken buffoons, armed Germans, dwarfs and other vulgarities’ into his canvas. He was ordered to make appropriate corrections to the composition within three months at his own expense, but his famous response was simply to add an inscription which retitled the painting Feast in the House of Levi – a subject that required ‘a great company of publicans and sinners’. The head of the corpulent steward, standing in front of the column to the right, is based on the so-called Grimani Vitellius – a magnificent Roman marble bust now the Venice Archaeological Museum. The picture has suffered considerable damage over the years. In 1697, when the refectory of Santi Giovanni e Paolo was again destroyed by fire, the canvas was cut into three pieces and rolled up. The picture was plundered by the French in 1797 and taken to Paris, where it was radically restored (cleaned, relined and heavily repainted). It was returned to Venice in 1815 and assigned to the Accademia. Restored in 1828 (by the painter Sebastiano Santi), treated for damp after the Second World War (when it had been stored at the Vatican) and restored again in 1979-83 (when old repaint and a layer of tinted varnish were removed, and the dimensions were increased slightly by retrieving the edges of the canvas folded under the frame).
*Ceres renders Homage to Venice. Canvas, 309 x 328.
Venice, personified as a beautiful woman, receives homage from Ceres, goddess of the corn-bearing earth, and Hercules. Painted in about 1574-75 for the ceiling of the Magistrato delle Biade (the ministry responsible for the importation, storage and sale of grain) in the Doge’s Palace. Moved to the Libreria Sansoviniana in 1792, the Palazzo Reale in 1810, and finally the Accademia in 1895.
*Marriage of St Catherine. Canvas, 337 x 241.
The Virgin is seated to the left on a high podium at the top of steps. Massive fluted columns at the sides of her throne are draped with red silk brocade. She holds the Christ Child towards St Catherine, who approaches up the steps with her hand on her breast, and an angel lifts the saint's right hand so she can receive the ring. Angels are gathered all around. Two, seated in the bottom left corner, study a music book, while a viola da gamba rests against the step behind them. Two others, standing at the left edge, play lutes. Two cherubs in the sky hold a crown and martyr’s palm. The altarpiece is one of Veronese’s most richly-painted canvases. In a famous description, Marco Boschini (1660) wrote: ‘ It is almost as if the painter to create his effects used gold, pearls and rubies, emeralds and sapphires, and purist, most perfect diamonds’. The picture was painted for the high altar of the Augustinian church of Santa Caterina in Cannaregio. Although the church was closed by Napoleon in 1807, the picture remained in situ until the First World War and was only transferred to the Accademia in 1925. It was probably painted around 1575. There is a highly finished drawing of the whole composition (brown ink and wash, with white heightening, on grey-green paper) at the Gardner Museum, Boston. 
*Saint Jerome. Canvas, 231 x 147.
The saint, identified by his cardinal’s hat, lion and books, meditates on a crucifix and beats his breast with a stone. From the early Gothic church of Sant’Andrea della Zirada, where it is recorded by Ridolfi in 1648. The church, near the modern bus station in Piazzale Roma, was largely abandoned during the Second World War and was, until quite recently, the studio of the sculptor Giovanni Aricò. The picture, which had been badly affected by mould, was removed in 1971 and has been exhibited at the Accademia since restoration in 1988. Comparatively late (about 1580). It is undoubtedly the finest of Veronese’s paintings of this subject. There are others (all different in design) in the church of San Pietro Martire on the island of Murano and at Chicago and Washington.
*Annunciation. Canvas, 267 x 543.
The splendid Palladian loggia encloses the Virgin's symbolic garden (hortus conclusus). This huge horizontal canvas was painted in 1578 for the Scuola dei Mercanti (a devotional guild of wealthy merchants). It is recorded in October 1581 hanging above the door of the Scuola's guildhall – which still stands, next to the church of the Madonna dell'Orto in Cannaregio. The coat-of-arms of the Scuola appear on the central arch, the arms of the Cadrabazza and Cottoni families on the bases of the columns. Veronese's canvas was part of a cycle, illustrating the Life of the Virgin, which also included paintings by Jacopo and Domenico Tintoretto and Veronese's brother Benedetto. Transferred to the Accademia in 1812 during the Napoleonic suppressions. Restored in 2007 (when the 1578 date was discovered by infrared imaging).
*Crucifixion. Canvas, 287 x 497.
The composition is highly unusual. The Crucifixion scene is relegated to the upper left middle distance of the large horizontal canvas, and the crosses are viewed obiquely against a stormy sky. A workman climbs a ladder to attach the plaque with the initials INRI to the cross on which Christ is crucified. Mary Magdalene, fair haired and dressed in yellow and rose, kneels in her traditional position at the foot of the cross. The centurion, in black armour, kneels in homage as he recognises Christ as the Son of God. The Virgin faints into the arms of St John. In the centre of the composition, mounted soldiers are startled by the darkening sky. In the foreground, onlookers panic and a horse rears up as 'the earth shook, the rocks split and the tombs broke open'. In the right distance, Jerusalem is represented as a great walled city on a hill.
The picture is one of a series of eleven canvases painted by Veronese and his workshop for the small church of San Niccolò ai Frari (or San Niccolò della Lattuga), which was reconsecrated on 17 October 1582. It was placed high above the altar of Saint John the Baptist on the right-hand wall of the nave. The church (which was next to the great Franciscan basilica of the Frari) was stripped of its pictures in 1806, turned into tenements for a time and eventually pulled down. There are four other canvases by Veronese from the church in the Accademia; a large Baptism and Temptation of Christ are in the Brera; and the five remaining canvases are mounted on the ceiling of the Chapel of the Rosary in Santi Giovanni e Paolo. The oblique setting of the crosses, with Christ seen from the side, and the dramatic sky were repeated in a smaller Crucifixion by Veronese in the Louvre.
St Francis receives the Stigmata. Canvas, 256 x 432.
St Francis receives the stigmata (Christ's wounds) on his hands, feet and side from the seraph. Brother Leo, oblivious of the miraculous event, sits reading. The large quatrefoil canvas was conceived to be seen from below, and the figures are steeply foreshortened. It was painted in about 1582 for the ceiling of San Niccolò ai Frari. Returned to Venice from Vienna in 1919.
St Nicholas chosen as Bishop of Myra. Canvas, 198 in dia.
The subject is from the Golden Legend. On the eve of the election of the new Bishop of Myra, a voice revealed that a pious young man called Nicholas had been divinely chosen and would be the first to appear at the cathedral door in the morning. The canvas depicts the moment when Nicholas (kneeling) reveals his name and is recognised as the young man chosen by God. The picture is a fragment (only the central part remains) of another of the canvases painted for the ceiling of San Niccolò ai Frari. Transferred to the Accademia in 1817 and cut down to fit the roundel in the ceiling of the first gallery.
Isaiah; Ezekiel. Canvas, 256/253 x 66/67.
Also from San Niccolò ai Frari. The two life-size, monochrome paintings of Old Testament prophets hung either side of the high altar. Until 2019, they were on loan to the Fondazione Cini.   
Assumption of the Virgin (no. 430). Canvas, 392 x 200.
The awe-struck figures crowding round the empty sarcophagus (raised above a flight of steps and a balustrade) include the eleven apostles, Mary Magdalene (left centre) and probably Mary Salome (kneeling on the steps). The bearded man in red (to the right behind John the Evangelist) has been supposed to be a self-portrait, but seems more likely to be a portrait of the donor. This tall picture was the high altarpiece of the Venetian church of Santa Maria Maggiore. A very late work, it was probably commissioned shortly after March 1584, when the ducal secretary Simone Lando left a thousand scudi in his will to embellish the choir of the church. Ridolfi (1648) records four other paintings by Veronese in the church, including the beautiful Agony in the Garden (now in the Brera). The Assumption was one of many pictures sent to the Accademia in 1812, following the Napoleonic suppressions. Rather neglected in the past, it benefited from cleaning in 1988.
Coronation of the Virgin (no. 392). Canvas, 396 x 219.
The Virgin is crowned Queen of Heaven by God the Father and the Son, while the dove of the Holy Spirit hovers above. The lower two-thirds of the painting is entirely taken up by a great throng of saints, many of which can be identified by their attributes. At the left edge, St Jerome (with his Vulgate Bible on his knee) debates with St Paul (with his sword across his lap), St Lucy (with her gouged-out eyes on a plate) converses with Catherine of Siena (with a dove) and St Giustina (holding a bloody dagger) talks to Catherine of Alexandria (with her spiked wheel). Towards the centre, one can identify John the Evangelist (with eagle), Gregory the Great (wearing a papal tiara and gazing towards Heaven), King David (with harp), Moses (with tablets of the law), St Augustine (the bishop reading), St Benedict (in profile wearing a black cowl), John the Baptist (standing in his camel skin and holding a reed cross) and St Cecilia (with organ). On the right are St Lawrence (with gridiron), St Luke (with bull), St Mark (with lion) in conversation with James the Great (with pilgrim's staff), St Peter (with keys) and St Andrew (with cross). This large canvas was painted for the high altar of the Venetian church of Ognissanti (which was stripped of its pictures in 1806). A very late work: the church was consecrated on 21 July 1586. It was often judged harshly in the past, with attributions to Veronese’s workshop (or to Francesco Montemezzano). Veronese was certainly responsible for the design, as there are preparatory studies by his hand at Oxford (Christ Church) and elsewhere. Restored in 1988 for an exhibition at the Accademia marking the four hundredth anniversary of Veronese’s death.
Veronese's workshop also painted the organ shutters for the church of Ognissanti. These represented the Adoration of the Magi and the Doctors of the Church and were sent to the Brera. (The Doctors of the Church is now on deposit at the Pinacoteca Malaspina, Pavia.)
‘Madonna del Rosario’. Canvas, 171 x 318.
Above, the Madonna and Child in the heavens; below, St Dominic distributes roses to kneeling worshippers, including the Emperor, Pope and Doge. Dated 1573 in the inscription on the throne. Painted for the altar of the Confraternita del Rosario in the church of San Pietro Martire on Murano. Taken from the church in 1807 and placed initially in the Palazzo Reale. Deposited in 1932 with the Museo Vetrario on Murano. The execution has been ascribed to Veronese’s workshop or Benedetto Caliari.

Venice. Palazzo Ducale.
Anticamera of Sala del Collegio.
**Rape of Europa. Canvas, 240 x 303.
Zeus, in the form of a white bull, carried off Europa from her native Phoenica to Crete, where she became the mother of Minos, Rhadamanthus and Sarpendon. The story of the seduction (from Book II of Ovid's Metamorphoses) is continued in the small separate scenes in the middle distance and background, where the nymph is carried out to sea. The subject was popularised by Titian, whose version of 1562 is in the Gardner Museum, Boston. Veronese’s version was painted in 1573 for Giacomo Contarini, whose descendant Bertucci Contarini presented it to the Venetian Republic in 1713. Removed to Paris on the orders of Napoleon in 1797 but returned in 1815. It is the only mythological picture by Veronese left in Venice. There are many sixteenth-century copies and variants, some from Veronese’s own workshop.
Sala del Collegio.
*Votive picture of Doge Sebastiano Venier. Canvas, 285 x 565.
Venier had been one of the commanders at the Battle of Lépanto and wears armour under his ducal robes. He is recommended to Christ by St Mark. Behind St Mark stands St Giustina of Padua, and behind her St Catherine holding the ducal crown. Behind the Doge, and between St Giustina and St Mark, is a portrait in shadow of the hero of Lépanto, Agostino Barbarigo, who died after being wounded in the battle by an arrow in eye. The canvas hangs above the throne where the Doge, surrounded by the Council, received the ambassadors. Venier was Doge in 1577-78 and the picture was probably painted a few years later (about 1581-82). The brilliance of the colouring was revealed in a restoration of 1983. An oil sketch (modello) for the picture is preserved in the British Museum. (The sketch does not correspond exactly to the painting: St Mark replaces Christ in the upper part of the composition, and an allegorical figure of Venice replaces St Giustina in the lower part.) 
*Ceiling.
The original decoration of the room was destroyed by fire in 1574. The redecoration started straight away; payment for the work started in January 1575 and continued until 1577. The woodwork is by Francesco Bello. All the ceiling paintings are by Veronese and his workshop. The allegorical subjects allude to the functions of the Collegio. Faith (in the centre) refers to its responsibility for religion, Mars and Neptune (at the near end) to its role as Ministry of War, and Justice and Peace (at the far end) to its legislative function. Along the sides are four pairs of allegorical female figures of the Virtues, representing (reading from the entrance) Liberality, Fortune, Industry, Moderation, Vigilance, Mildness, Prosperity and Faith.
Stanza del Consiglio dei Dieci.
*Ceiling canvases.
The central oval of Jove Expelling Crimes and Virtues is a nineteenth-century copy by Andrea di Jacopo of Veronese’s original, which was taken to Paris in 1797 and is now in the Louvre. Just two or three of the other twenty-four ceiling canvases are by Veronese. Youth and Age (286 x 150) is the oval canvas in the right-hand farther corner of the ceiling. The old man in eastern costume, whose massive form recalls Michelangelo’s Sistine frescoes, peers down at a beautiful young woman who modestly covers herself. The rectangular canvas of Juno bestowing Gifts on Venice (365 x 147) is in the centre of the left-hand side. It was taken by the French in 1797 and given to the City of Brussels but returned in 1920. The rectangular canvas of Venice (or Justice or Liberty) breaking Her Chains (147 x 365) at the far end of the room is ascribed either to Veronese or Zelotti. The remaining canvases are ascribed to Zelotti and Giovanni Battista Ponchino (a painter from Castelfranco). The rooms of the Council of Ten were built under Doge Francesco Donato (1545-53), and the richly carved and gilded wooden ceiling was finished by 1553. The ceiling canvases were Veronese’s first state commission in Venice. They were still being painted in 1556, when Sansovino refers to them. According to Sansovino, the allegorical themes were determined by Daniele Barbaro.
Sala della Bussola.
Ceiling canvases.
The central square of St Mark crowning the Theological Virtues is a nineteenth-century copy by Giulio Carlini of Veronese’s original, which is in the Louvre. The other eighteen compartments (with triumphal processions, war scenes, figures of Victory and Fame and lion’s heads painted in green monochrome) are by Veronese or his workshop. On the evidence of the coat-of-arms over the door, the room was decorated under Doge Marcantonio Trevisan (1553-54).
Stanza dei Tre Capi.
Ceiling canvases.
This ceiling also dates from the mid-1550s. Only two of the eleven canvases are by Veronese: the Triumph of Nemesis or Punishment of the Forger (295 x165) on the left above the window and the Triumph of Virtue (295 x 165) to the right of the door. The others are by Zelotti and Ponchino.
Sala del Maggior Consiglio.
*Venice Triumphant. Oval ceiling canvas, 904 x 580.
The huge painting is the central decoration of the ceiling, above the ducal throne. Venice, in the clouds and flanked by allegorical figures, is crowned by an angel under an open portico supported by twisted columns; behind her are the twin towers of the Arsenal; below is a terrace packed with jubilant Venetians; and lower still are soldiers on prancing horses. The original ceiling was destroyed by fire in 1577. It was replaced by a deeply carved and gilded wooden framework constructed by Cristoforo Sorte between 1579 and 1582. The ceiling paintings were underway by 1582 and finished by 1584. Venice Triumphant was painted by Veronese with the help of assistants (particularly Benedetto Caliari). It is flanked by two canvases from Veronese’s workshop: the Conquest of Smyrna by Paolo Mocenigo and the Defence of Scutari by Antonio Loredano. A large, highly finished drawing (modello) for the painting was formerly in the Earl of Harewood's collection at Harewood House, near Leeds. It was sold in 2016 to a private buyer for $15.4 million.   

Venice. Libreria Vecchia (Biblioteca Marciana).
*Three Ceiling Tondi with Allegories. Canvas, 230 in dia.
The three large tondi comprise the sixth row of canvases from the entrance. The one on the left represents Music. Three beautiful young women are seated under the statue of a fawn. One sings, another plays a lira da gamba and the third plays a lute. A youth (identified by Vasari as wingless Cupid) is seen with his back to us playing a harpsichord. The other two tondi are harder to interpret. The one in the centre is called Arithmetic and Geometry by Sansovino (1581), but has been alternatively read as Music, Astronomy and Deceit or Harmony and Astronomy driving away Falsehood. One young woman (Music or Harmony?) kneels with a flute in her hand, another (Arithmetic or Astronomy?) stands on a fragment of a classical cornice studying a book with figures or astronomical charts, and a third (Geometry or Deceit?) examines a book with geometric figures and wears the mask of an old man on the back of her head. Sansovino calls the right-hand canvas Honour ('in the ancient manner, with people around who offer incense and make sacrifice'). A man (Honour) is seated on a raised throne, a mother (Charity?) holds a child in her arms, a priest-like old man offers a laurel wreath to a kneeling man about to sacrifice a calf, a man brings a heavy jar, and an elderly man in the background holds an olive branch. 
The three tondi were painted by Veronese between August 1556 and February 1557 for the ceiling of Sansovino’s new library. Giuseppe Salviati, Schiavone and Zelotti were among the six other artists involved in the decoration. According to early sources, Titian and Sansovino chose Veronese’s Music as the best canvas in the series, for which he was awarded a gold chain by the procurators.
Two Philosophers. Canvas, each 250 x 160.
Veronese also painted two of the ten philosophers in simulated niches around the walls. These have been identified as the two – thought to depict Plato (right) and Aristotle (left) – flanking the doorway.

Venice. Seminario Patriarcale.
Glory. Detached fresco, 122 x 175.
The allegorical female figure, reclining on top of a rusticated arch, is identified as Gloria by an inscription. The faded frescoed lunette bears Veronese's signature (Paulus) and the date1551. It came from the Villa Soranzo, near Castelfranco, which was designed by Sanmicheli and decorated by the young Veronese in collaboration with Giovan Battista Zelotti and Anselmo Canneri. 118 fragments of fresco were reportedly removed from the villa shortly before the villa was demolished in 1818. Some fragments were given to Castelfranco Cathedral. There is a small fragment in the Vicenza museum. A large fragment was acquired by the regional government (Regione Veneto) in 2003 and hung in the Palazzo Balbi. A few other fragments are scattered across different musems and collections.  

Venice. Palazzo Balbi.
Minerva between Geometry and Arithmetic. Detached fresco, 190 x 284.
The goddess Minerva, identified by her classical helmet and armour, is seated between an allegorical female figure holding a ruler and an allegorical female figure holding a tablet inscribed with numbers. This large (and somewhat abraded) fresco fragment came from the Villa Soranzo, at Treville near Castelfranco, which was decorated around 1551 by the young Veronese, Battista Zelotti and Anselmo Canneri. Many fragments of the decoration were removed just before the villa was demolished in 1818. Some – including the Minerva and two other allegorical scenes – were taken to London and offered for sale in 1825. The three allegorical scenes resurfaced in 1962, when they were sold at Christie's. The Minerva reappeared again recently on the art market, and was purchased for €206,000 in 2003 by the Regione Veneto (regional government of the Veneto), which hung it in the hall on the ground floor of the Palazzo Balbi (seat of the President). It is disputed whether the fresco should be attributed to Veronese or one of his collaborators, Canneri or Zelotti. Other fragments from the Villa Soranzo are preserved in the Cathedral at Castelfranco, the Seminario at Venice, the museum at Vicenza and private collections.

Venice. Redentore.
Baptism of Christ. Canvas, 204 x 102.
Commissioned by the merchant Bartolomeo Stranvazino, who is portrayed with his son Giovanni Battista in the bottom right corner, for the Cappella di San Giovanni Battista near the church. The chapel, which was consecrated in 1561, was demolished about a century later. The painting is now in the sacristy of the church (rarely open).
Another Baptism in the church (over an altar on the right) is signed by the ‘heirs of Paolo Veronese’. There is a replica of this second Baptism in the Cathedral of Saint John the Divine, New York.

Venice. San Francesco della Vigna.
*Holy Family with Saints. Canvas, 313 x 190.
The composition, with the Madonna enthroned on a high pedestal off to the right, was inspired by Titian’s Pesaro Madonna of 1519-26. The picture was painted for the Giustiniani Chapel of the church (fifth on the left of the nave), and is still in situ. The chapel was dedicated to St Joseph, who is seated in a pensive pose beside the Virgin and Child. The Virgin's wicker sewing basket rests on the window ledge, behind St Joseph's head, and her open book lies on the plinth beneath her foot. The infant Baptist struggles to hold his lamb. The two saints below are Catherine (a fragment of whose spiked wheel is visible beneath her golden mantle) and Anthony Abbot (whose pig appears to be sharpening its teeth on a fallen column). The inscriptions recording the chapel’s dedication are dated 1551. This is sometimes taken to be the date of the picture, although Veronese was apparently still living in Verona at that time. Exceptionally well preserved (restored in 1980).
Resurrection. Canvas, 325 x 160.
A night scene. Christ rises from the tomb in a blaze of light, displaying the red-cross banner behind him. Soldiers guarding the tomb attempt to protect themselves from the glare with their cloaks or shields. One (bottom right) seems to be falling forward out of the painting into the viewer's own space. The altarpiece has always remained in the Badoer Chapel (fourth on the right side). It may have been painted after 1581 (as it is not mentioned in Sansovino's guidebook of that year), but it must have been painted by 1584 (as it is one of the two pictures by Veronese in the church mentioned in Borghini's Il Riposo). The patronage rights of the chapel were acquired by Pietro Badoer in 1535 for 250 ducats. The probable patron of the altarpiece was Pietro's grandson Alberto Badoer, who is commemorated in the plaque on the left wall of the chapel. (Alberto Badoer was a distinguished diplomat, who served as Venetian ambassador at Philip II's court in Spain from 1574 to 1578 and at Emperor Rudolf II's German court from 1579 to 1582.) The picture is not well preserved, and the execution has sometimes been ascribed to Veronese's workshop.
Veronese painted a third work for the church – a frescoed Madonna and Saints in 1562 over the altar of the Cuccina family in the new sacristy. The fresco (described by Sansovino (1581) and Ridolfi (1648) and engraved in the eighteenth century by Antonio Baratti) is lost.

Venice. San Giacomo dell’Orio. North transept.
SS. Jerome, Lawrence and Prospero. Canvas, 270 x 145.
St Jerome, dressed as a cardinal, is seated on the left with his lion. St Lawrence, dressed as a deacon, is in the centre, reading from an enormous book of scripture held up by a choirboy. (The object behind him is a gridiron standing on its end.) St Prospero, dressed as a bishop, stands on the right, gazing up at an angel descending with palm branches. The altarpiece was painted for the Malipiero Chapel of the church. It was probably commissioned by Laura Barbarigo, whose husband Gerolamo Malipiero had died in December 1572. It originally had a predella illustrating the martyrdoms of the three saints. The picture is much restored (the sky is now a dark greenish blue) and the execution appears to be at least partly by Veronese’s workshop.

Venice. SS. Giovanni e Paolo. Cappella del Rosario.
Ceiling Canvases.
The ceiling of the chapel is divided into two parts. Three large oval canvases in the nave represent the Assumption of the Virgin (762 x 432), Adoration of the Shepherds (340 x 455) and Annunciation 340 x 455). They were painted for the Jesuit church of Santa Maria dell’Umilta, which stood on the Zattere in what is now the garden of the Seminario Patriarcale. They must have been completed by 1568, when Vasari refers to them in the second edition of his Lives. The convent was closed in 1806, and in 1838 the three canvases were removed and taken to the Vienna Gallery. They were returned to Venice in 1919. Their present frame was carved by Carlo Lorenzetti in 1932. The large horizontal canvases hanging on the side walls below are attributed to Benedetto Caliari (Last Supper) and Carletto Caliari (Christ and Veronica).
The ceiling paintings in the presbytery of the chapel – the quatrefoil Adoration of the Magi (420 in dia.) in the centre and the L-shaped Evangelists (200 x 157) in the four corners – are also by Veronese and his workshop. They were painted around 1581-82 for the ex-church of San Niccolò ai Frari, which was stripped of its pictures in 1806. They were transferred from the Accademia and mounted on the ceiling in 1929.
*Adoration of the Shepherds. Canvas, 350 x 290.
This lovely picture hangs on the end wall to the left of the entrance. It was painted in 1557 for the altar of the Scuola dei Tessitori di Seta (confraternity of silk weavers) in the church of the Crociferi (now Gesuiti). It was seen in situ by the Dutch painter Pieter Lastman, whose pen-and-ink drawing of it (around 1603-5) is preserved in the Fitzwilliam Museum, Cambridge.
The original decoration of the chapel, which included a ceiling painting of the Madonna of the Rosary by Tintoretto, was destroyed by fire in 1867.

Venice. San Giuliano (San Zulian). 1^st south altar.
Pietà with Saints Mark, James and Jerome ('St James Altarpiece'). Canvas, 365 x 181.
The dead Christ appears on a cloud to three saints. St Mark, seated on the left, holds his Gospel and rests his leg over his lion. St Jerome, dressed in his cardinal's scarlet robes, turns from his studies to gaze up at the apparition. The central figure has sometimes been called Christ because of his prominent halo, but is identified as St James the Great by his pilgrim's staff. Olive branches, promising peace, project from behind the cornice on the right. According to Ridolfi (1648), the altarpiece was painted for the merchant Cavalier Girolamo Vignola (who died in 1585). However, the altar appears to have been under the patronage of the Scuola of the Strazzorali (guild of rag and bone merchants), who had St James as their protector. The picture is probably a late work (late 1570s or early 1580s). The St Jerome is possibly a portrait of Girolamo Vignola (who, while he may not have commissioned the altarpiece, was an important benefactor of the church.) The upper section of the picture, with the tragic image of the dead Christ supported by three angels, is similar to the Pietà in Ottawa (a fragment from the top of an altarpiece).

Venice. San Giuseppe di Castello (Sant’Isepo).
Adoration of the Shepherds. Canvas, 375 x 182.
As the titular saint of the church, St Joseph occupies a prominent place in the centre of the composition, watching over the adoration of the Child by the shepherds. The picture is a late work, commissioned on 4 April 1582 as part of the redecoration of the choir of the church and delivered on 17 August 1583. The patron was Marino Grimani (one of the heads of the Council of Ten and, from 1595, Doge of Venice). The kneeling St Jerome on the left is a posthumous portrait of Marino's father, Gerolamo Grimani. The fee (50 ducats) was modest for an altarpiece by Veronese, who appears to have left much of the execution (including the background) to assistants. Previously in a poor state, the picture was restored to something closer to its original appearance in the 1970s.

Venice. San Lazzaro dei Mendicanti (now incorporated into the civic hospital).
*Crucifixion with the Virgin and St John. Canvas, 305 x 165.
Painted for the Ospedale degli Incurabili, which was situated in a convent on the Zattere. Probably a comparatively late work; but no later than 1581, when it is mentioned in Francesco Sansovino’s Città Nobilissima e Singolare. The painting was long neglected, and it was only after restoration for the 1939 Veronese exhibition in Venice that its quality was recognised. The simple, symmetrical composition (with the cross in the centre of the painting and the grieving Virgin and St John standing at the sides) and dark dramatic sky recall Titian’s Crucifixion of 1558 in Ancona. (The church is rarely open, except for services.)

Venice. San Luca. High altar.
St Luke in Ecstasy. Canvas, 340 x 206.
The Madonna appears to the Evangelist, who is seated on an ox. A late work, probably painted in about 1581, when the church was renovated. Workshop participation has sometimes been suspected, particularly in the upper part. Much damaged.

Venice. Santa Maria dei Carmini.
Holy Family with St John. Canvas, 105 x 112.
The Christ Child, perhaps frightened by a premonition of his tragic destiny, appears to be looking down at the lamb lying on the ground as he clambers onto his mother's knee. The infant Baptist playfully pulls her mantle over his head, and the elderly St Joseph reclines watchfully on the left. The picture, recently transferred from the nearby church of San Barnaba, is hung (without a frame) high on the left wall of the nave. It is believed to be the painting noted by Ridolfi (1648) in the church of the Maddalena at Padua (closed in 1774). Comparatively early (mid-1550s).

Venice. San Pantalon.
*St Pantaleon healing a Child. Canvas, 277 x 160.
St Pantaleon (his name means ‘all-compassionate’) was an early Christian martyr whose shrine at Ravello was famous for healing the sick. The picture shows his conversion. Moved by the plight of a boy dying from a reptile bite, he converts to Christianity on condition that God promises to bring the child back to life. The boy is supported by Bartolommeo Borghi, the parish priest who commissioned the work in 1587. It is Veronese’s last work that can be dated with certainty. The picture, now in the dark third chapel on the right side, originally hung over the high altar of the church, which was rebuilt in 1732.

Venice. San Pietro in Castello.
SS. John the Evangelist, Paul and Peter. Canvas, 320 x 155.
St John, with his eagle, chalice and Gospel, looks up at an angel; St Paul holds his Epistles; and St Peter clasps the keys to heaven. Painted for Giovanni Trevisan, 13^th Patriarch of Venice, to hang above the altar he had dedicated to St John the Evangelist. The altar was completed by 1581. The picture now hangs on the wall of the north aisle. Attributed either to Veronese or to a member of his workshop (such as Francesco Montemezzano). Restored in 2004.

Venice. San Polo. Left apse chapel.
Marriage of the Virgin(?). Canvas, 350 x 170.
The altarpiece encloses a Byzantine icon. The two kneeling figures, usually interpreted as the Virgin Mary and Joseph at the altar, have been alternatively identified as Mary's parents, St Anne and St Joachim, adoring the image of the Virgin and Child. Late (around 1580). Exceedingly worn. Restored in 2006.    

Venice. San Sebastiano.
Veronese worked in the small church, decorating almost every aspect of its interior, over almost twenty years, starting in 1555 and continuing until at least 1570. He was given the commission by Fra Bernardo Torlioni, Prior of the Hieronymite monastery, who was from Verona. Veronese lived in the salizzada neighbouring the church, and he is buried with his brother Benedetto in the chapel to the north of the choir. A major restoration of the ceiling canvases and wall frescoes – the first since the 1960s – got underway in 2007 and continued for more than a decade.
*Sacristy. Ceiling. Coronation of the Virgin. Canvas, 200 x 170.
The treatment is unusual in showing both Christ (who crowns the Virgin) and God the Father (who places his hand on Christ's shoulder). The three figures kneel on a bank of cloud, while the dove of the Holy Spirit hovers in the radiance above them. The surrounding long horizontal canvases (each 85 x 200) show foreshortened seated or reclining figures of the Four Evangelists (Matthew with his angel, Mark with his lion, Luke with his bull and John with his eagle) apparently witnessing the celestial scene. The optimum viewpoint is the centre of the room. The ceiling is among the earliest of Veronese’s works in Venice, completed on 23 November 1555 (the date recorded on a tondo in one of the corners). 
**Nave. Ceiling. Story of Esther. Canvas.
Veronese signed the contract for the ceiling paintings on 1 December 1555 and received final payment on 31 October 1556. The three main scenes are taken from the Book of the Esther. The Old Testament subject has been interpreted as representing Faith (exemplified by the Jewish heroine Esther) triumphing over Heresy (embodied in the evil councillor Haman). The three canvases represent the Coronation of Esther (300 x 300) in the central square, the Repudiation of Vashti (410 x 295) in the oval near the main entrance, and the Triumph of Mordecai (410 x 295) in the oval near the high altar. They appear to have been painted largely or entirely by Veronese himself. The smaller paintings on the ceiling may have been designed by Veronese but were probably executed by his workshop (including Benedetto Caliari and Giovanni Antonio Fasolo). They include putti holding swags of fruit, the Virtues (Faith, Hope, Charity and Justice) in the corner tondi and Victories in the spandrels. Restoration in 2008-10 removed old varnish and revealed Veronese’s original skies, which had been overpainted in the eighteenth and nineteenth centuries. (Unfortunately, the smalt blue used by Veronese has discoloured irreversibly to a pale grey.)
*Nuns’ Choir. Trial and Martyrdom of St Sebastian. Frescoes.
The two largest scenes (350 x 480) are St Sebastian before Diocletian and the Martyrdom of St Sebastian by Beating. The frescoes were painted by Veronese and Benedetto Caliari in 1557-58. (A payment of 105 ducats was made in March 1558 and an additional payment of 5 ducats in September.) The fresco of St Sebastian before Diocletian was later covered by a canvas by Veronese of the same subject (now known only from an engraving of 1691). The frescoes are now rather faded. Some of them were restored by Sebastiano Ricci. In the major recent restoration of the church, work on the frescoes was completed in 2014. (The nuns' choir is reached, via stairs, through a door in the sacristy, and access is not always possible.) 
*Organ Shutters: Presentation in the Temple; Pool of Bethesda. Canvas, 490 x 185 (when closed).
The organ was ordered on 9 October 1558 from Alessandro Visentin del Palazzo. A week later, 'Maestro Domenico' of Treviso [Domenico Marangone] was commissioned to construct the organ loft, which was 'to be made according to drawings by Maestro Paolo [Veronese]'. The gildings and carvings were executed by two other named craftsmen (Francesco Fiorentino and Bartolomeo Bolognese).
Veronese received final payment for his canvases for the shutters in April 1560. The Presentation in the Temple is on the outside. The Virgin kneels on the altar steps to present the Child to Simeon, the High Priest. The 84-year-old Prophetess Anna stands behind Simeon and, on the far left, a female attendant holds a cage of doves for sacrifice. The Pool of Bethesda is on the inside of the shutters. The left shutter shows the angel visiting the pool, and the right shutter shows Christ inviting the paralytic to stand and curing him (John 5: 2-8). A small Nativity and two grisaille Virtues decorate the parapet in front of the organ loft, and grisaille figures of Saint Jerome and the Blessed Pietro Gambacorta (founder of the Hieronymite Order) are painted either side of the organ case. A very thorough restoration of both the organ loft and shutters was completed in 2016. 
Presbytery. St Onuphrius; St Paul the Hermit. Frescoes, 280 x 90.
Veronese was commissioned to decorate the presbytery in 1558, and the work was probably done in 1561. The two hermit saints, Onuphrius and Paul, were venerated by the Hieronymite order. Other frescoes were destroyed in the eighteenth century when the cupola was repaired.
*High Altar. Apotheosis of St Sebastian. Canvas, 420 x 230.
The Madonna, seated on a cloud with music-making angels, appears in glory to St Sebastian, who is bound to a column and surrounded by Saints Peter, Francis, John the Baptist, Catherine, and another female saint (half hidden by a column, but perhaps Elizabeth). The high altar, with its multicoloured marble frame, was built between 1559 and 1561 to a design of Veronese. The altarpiece is not documented, but was probably painted slightly later (perhaps in 1565 when Veronese received payment for unspecified work for the church). The patron of the high altar was Lisa Querini, widow of Giovanni Soranzo, and the picture appears to represent name-saints of members of the Soranzo family, which held burial rights to the chapel. Ridolfi (1648) says that St Francis is a portrait of Bernardo Torlioni, the Hieronymite Prior of San Sebastiano, but the saint might rather represent Giovanni Soranzo's illegitimate brother Francesco.
**Choir. Martyrdom of SS. Mark and Marcellian; Martyrdom of St Sebastian. Canvas, each 355 x 450.
The two dramatic narrative scenes follow the accounts in the Golden Legend. In the picture to the left of the choir, St Sebastian, in gleaming armour and clasping a banner, exhorts the twin brothers Mark and Marcellian to their martyrdom, while their elderly mother at the top of the steps begs them to renounce their faith and live. In the picture to the right, St Sebastian is being stripped and bound before being beaten to death with clubs. His twisting pose seems to have been inspired by Titian’s Martyrdom of St Lawrence in the Gesuiti. The picture has been badly affected by oxidisation, which has turned the sky brown.
The Four Evangelists are represented (on canvas) in the lunettes around the circular windows. St Mark and St Luke, on the right wall, are the original paintings by Veronese and his workshop. St John and St Matthew, on the left wall, are seventeenth-century replacements. Veronese's frescoes of the Assumption of the Virgin in the dome and the Church Fathers in the pendentives were lost in the eighteenth century when the surface was repaired.
The high altar and choir were restored between May 2016 and autumn 2017.
*Third left altar (Grimani Chapel). Madonna with St Catherine and Donor. Canvas, 56 x 67.
The donor, dressed as a Franciscan and holding the lily of St Anthony, is identified by Ridolfi (1648) as Frate Michele Spaventi of the parish of San Sebastiano. His initials appear on the cushion on which the Madonna supports the Child. The small votive picture was probably painted in or shortly after 1558, when Frate Spaventi moved to Venice from Treviso, and donated to San Sebastiano after Spaventi was appointed Prior in 1578. It was originally displayed in the Onorati Chapel on the right side of the nave, and was moved to the Grimani Chapel in the eighteenth century.
*Fourth right altar. Crucifixion. Canvas, 260 x 125.
Behind the cross, the Virgin has fainted into the lap of one of the Marys. The Magdalen takes the Virgin's hand and gazes up into the face of Christ. John the Evangelist stands on right, wringing his hands in anguish. The picture remains in situ over the altar nearest the chancel on the right side of the nave. The altar was acquired by Girolamo Garzoni in 1544 and the altar and tomb were constructed by 1553. The Crucifixion is undocumented and has been variously dated between the mid-1560s and late 1570s. It was certainly completed by 1581, when it is mentioned in Francesco Sansovino’s Venetia: Città Nobilissima e Singolare. The altar and frame were reconstructed in 1709. Before 1965, the picture was so heavily overpainted that its authenticity was sometimes doubted. There is a similar Crucifixion, attributed to Veronese's workshop or Carletto Caliari, in the church of Santa Maria Maddalena at Treviso.
Veronese painted several other works for the church and for the former Hieronymite convent (the buildings of which are now used by the University of Venice). A huge canvas of the Feast in the House of Simon, painted for the refectory of the convent, was taken to the Brera in 1817, and some frescoes in the cloister have been destroyed. 

Verona. Castelvecchio.
*Madonna and Child with SS. John the Baptist and a Bishop Saint ('Pala Bevilacqua Lazise'). Canvas, 233 x 172.
This damaged altarpiece is one of Veronese's earliest paintings and the first work of Veronese listed by Ridolfi. It was formerly usually dated to 1548, but is now believed to have been commissioned in 1544 and probably completed in 1546. It was painted for the mortuary chapel of the Bevilacqua Lazise family in the church of San Fermo Maggiore at Verona.  (Veronese was distantly related to the Bevilacqua Lazise family through his mother.) The husband and wife portrayed as donors in the bottom two corners of the picture could be either Giovanni Bevilacqua Lazise and his wife, Lucrezia Malaspina, or his brother Giovanni Battista Bevilacqua Lazise and his wife, Francesca Pellegrini. Transferred to the museum in 1865. Restored in 1980. There is an oil study for the altarpiece in the Uffizi and a preparatory drawing at Chatsworth..
*Deposition. Canvas, 76 x 117.
The mourners include the turbaned Nicodemus (supporting the dead Christ), the white-bearded Joseph of Arimathea (possibly a portrait of the donor), Mary Magdalene (kneeling at Christ’s feet), and the two other ‘Maries’ (one supporting the fainting Virgin). From the Hieronymite monastery of Santa Maria della Vittoria in Verona. Removed from there to Paris in 1797 and returned to Verona in 1816. A range of datings can be found in the earlier literature, but the painting is now usually considered to be one of Veronese’s earliest works, contemporary with the Bevilacqua-Lazise Altarpiece of about 1548.
Episodes from the Story of Esther. Three canvases, 24/26 x 29/31.
The three small paintings, clearly from the same series, have been attributed to Veronese as very early works. One, somewhat damaged and slightly trimmed, came from the Bernasconi collection at Verona. Its subject has been interpreted as Haman ordering the persecution of the Jews or Moredecai summoned before King Ahasuerus. The imposing city in the background is probably intended to be Susa. The other two canvases were formerly in the London collection of David Carritt, an art critic and dealer. Following the 1980 exhibition Palladio e Verona, they were acquired by the Italian state and allocated to the Verona museum. One represents the punishment of the eunuchs and the other Esther before Ahasuerus. The series must have included other canvases, now lost.

Verona. San Giorgio in Braida.
*Martyrdom of St George. Canvas, 425 x 305.
The saint, stripped of his armour, looks up at a putto, who flies down from heaven with the crown and palm of martyrdom. Behind him, a pagan priest points to the statue of Apollo that he had refused to worship and an executioner stands with a great sword. On the clouds above, the Virgin, St Peter (with keys) and St Paul (with sword and book), and female figures of Faith (with chalice), Hope (with hands clasped in prayer) and Charity (with children) are seated in a circle. The huge painting, commissioned by the Augustinian canons of San Giorgio in Alga, is still in situ over the high altar, splendidly framed in an aedicule with double Corinthian columns designed by Sanmicheli. The altar was constructed by 1564. The picture is traditionally dated 1566; a preparatory drawing bears the date 1565. The Earl of Arundel tried to buy the painting in 1637, offering (it is said) the astonishing sum of £2,000. The picture was removed to Paris in 1797 but returned in 1815. (Veronese’s Miracle of San Barnabas, taken from the church at the same time, was not returned and is now in the gallery at Rouen.) Cleaned in 1988 and restored again in 2014.

Verona. San Paolo in Campo Marzio. Marogna Chapel (right transept, near presbytery). 
*Madonna and Child with Saints and Donors (‘Pala Marogna’). Canvas, 338 x 208.
The asymmetric composition, with the Virgin enthroned high on the right, is similar to that of Veronese's earlier Pala Giustiniani (San Francesco della Vigna, Venice) and derives ultimately from Titian's famous Pesaro Madonna (Frari, Venice). The picture was painted for the church (which was remodelled in 1763 and rebuilt in 1948 after War damage). It was commissioned by the brothers Antonio Maria and Giambattista Marogna of Verona, who are portrayed on the left being presented to the Virgin by their patron saints, Anthony of Padua and John the Baptist. The Marogna family chapel was built in 1565, which is the probable date of the picture. The donor portraits may have been executed by an assistant. A chalk drawing for the head of Antonio Maria Marogna is preserved at the Metropolitan Museum, New York. The picture was restored in 1980 and again in 2009.

Verona. Palazzo Barbieri. Sala Arazzi.
Feast in the House of Levi. Canvas, 509 x 984.
This huge Feast scene was painted for the refectory of the Servite convent of San Giacomo on the Giudecca. Veronese was probably still alive when the work was begun, and he might just have contributed to the early stages of painting. Payment was made in September 1590 to his "Heirs' (his brother Benedetto and his sons Gabriele and Carletto). The convent was closed in 1806 and the picture became the property of the Accademia. Since 1910 it has been on loan to public buildings in Verona, and since the War it has hung in the Palazzo Barbieri (the seat of local government in the city). Previously much obscured by dirt and old varnish, it was thoroughly restored for the Veronese exhibition held in 2014 at the Palazzo della Gran Guardia. 

Vicenza. Museo Civico.
*Madonna and Child with St Peter and a Female Saint. Canvas, 119 x 95.
The female saint, wearing a gold crown and holding a white dove and martyr’s palm, is usually identified as Catherine, but has also been called Agnes or Colomba. A variant on two frescoed lunettes of the Holy Family in the Villa Barbaro at Maser. It probably dates from the 1550s. Bequeathed to the museum in 1826 by the Porto Godi family of Vicenza.
Trinity with St Peter and St Paul. Canvas, 225 x 120.
Dated 1573 (lower left). From the church of Santa Croce at Vicenza, where it was described by Boschini (1676) as a work of Carletto Caliari (who was only three years old in 1573). Transferred to the museum after restoration in 1947. The altarpiece is likely to have been painted largely or entirely by Veronese’s workshop (Benedetto Caliari?). Three other large paintings by Veronese are also dated 1573: the Feast in the House of Levi and Madonna del Rosario (both now in the Accademia, Venice), and the Adoration of the Kings (National Gallery, London). Studio assistance is not surprising, therefore. 
Winged Putto on a Balustrade. Fresco (transferred to canvas), 75 x 67.
This delightful but damaged little fragment came from the loggia of the Villa Soranzo at Treville, near Castelfranco. The villa (demolished in 1818) was decorated by the young Veronese and others around 1551. The fragment was donated to the museum in 1890 by the engineer Giovan Battista Cita. Other fragments from the decoration are preserved in the Cathedral at Castelfranco and the Seminario and Palazzo Balbi at Venice.    

Vicenza. Santa Corona.
*Adoration of the Kings. Canvas, 320 x 234.
This richly coloured altarpiece was painted for Marcantonio Cogollo, a wealthy cloth merchant (who is probably portrayed as the grey-bearded spectator standing at the left edge and whose coat-of-arms appears on the mule's harness in the bottom right corner). It hung originally over an altar in the Cappella della Sacra Spina in the apse of the church. It was in situ by March 1574, and must be almost contemporary with a similar picture (dated 1573) in the National Gallery, London. Taken to the Brera in 1807, during the Napoleonic occupation, and badly restored. The picture was moved in 1860, and now hangs in the late eighteenth-century Cappella di San Giuseppe (third chapel on the right). 

Vicenza. Monte Berico.
*Feast of St Gregory. Canvas, 477 x 862.
According to legend, when Pope Gregory invited twelve beggars to eat at his table, Christ appeared in the guise of a thirteenth, producing a silver porringer which Gregory had given to a beggar when a humble monk. The picture was painted in Venice for the refectory of the Servite monastery in 1572. The architectural setting – with flanking double staircases leading up to the triple arcade of an open loggia – is very similar to that of the even larger Christ in the House of Levy (Accademia, Venice), which is dated the following year. The man in a black habit, standing in profile in front of the pillar to the left, is identified by Ridolfi (1648) as Damianus Grana, prior of the Vicentine order of the Servites, who commissioned the picture. The huge canvas was removed to the Brera in 1798, but returned to Vicenza in 1817 (when it was restored by the Venetian painter Antonio Florian). During the Battle of Monte Berico in June 1848, it was terribly damaged by the Austrians, who cut the picture first into five or six large pieces and then into thirty-two smaller ones. It was reassembled and restored in the 1850s. The restoration was financed by the Emperor Franz Joseph I (by way of compensation for his soldiers' vandalism) and carried out by Andrea Tagliapietra (restorer at the Venice Accademia). A major new restoration, the first since 1973, was announced in July 2019 and is scheduled to be completed in 2021. Before restoration, the canvas was covered with a thick layer of discoloured varnish.

Vienna. Kunsthistorisches Museum.
*Christ healing a Woman with an Issue of Blood. Canvas, 102 x 136.
The story of the miracle is told in all three synoptic Gospels (eg. Mark 5: 25-34). A woman, who had suffered constant bleeding for twelve years, touched the hem of Christ's cloak and was immediately healed. The picture may date from about 1570. The painting was part of the superb collection of Venetian pictures purchased by the Duke of Hamilton (through the English ambassador Basil Fielding) from the Venetian merchant Bartolomeo della Nave. After Hamilton, a Royalist commander during the English Civil War, was beheaded in 1649, most of his paintings were acquired by Archduke Leopold Wilhelm, Hapsburg Governor of the Netherlands, and are now in the Kunsthistorisches Museum.
Judith with the Head of Holofernes. Canvas, 111 x 101.
The picture may have been substantially cut down; other versions of this subject by Veronese (at Caen and Genoa) show the figures full length. It probably dates from the late 1570s or early 1580s. It has been tentatively suggested that it could be a fragment of the lost Judith painted by Veronese for Carlo Emanuele I of Savoy. First definitely recorded in Archduke Leopold Wilhelm’s collection.
*Deianira and Nessus. Canvas, 68 x 53.
The story of Deianira and Nessus is told in Ovid’s Metamorphoses. The centaur Nessus carried the beautiful Deianira across the stream of the Evenus and then attempted to rape her. Hercules, seeing this, killed Nessus with a poisoned arrow. In 1636 the picture and its pendant, Adonis and Venus, were in Bartolommeo della Nave’s collection at Venice; they were acquired by the English ambassador Basil Fielding for his brother-in-law the Duke of Hamilton, whose celebrated collection was dispersed during the Civil War; and by 1659 they are recorded in Archduke Leopold Wilhelm’s collection.
*Adonis and Venus. Canvas, 68 x 52.
A pendant to the Deianira and Nessus. This more familiar subject, also from the Metamorphoses, was painted by Veronese several times. The highly erotic Vienna version illustrates the lovers' idyll from Book X (lines 555-559), where 'a poplar tree entices [them] with its welcome shade and the turf yields a bed ...' Cupid helps Venus to disrobe. Adonis's dogs – which were to lure him to the hunt and so to his death – are beautifully observed individual breeds. Comparatively late (probably 1580s).
*Lucrezia. Canvas, 109 x 90.
The Roman heroine, adorned with pearls and gold bracelets and draped in rich brocade, stabs herself after the rape. Very late (mid-1580s). Recorded as by Veronese in the 1659 inventory of Archduke Leopold Wilhelm’s collection, but later ascribed to Leandro Bassano (1733 inventory), Paolo Farinati (Berenson (1907)) and Veronese’s workshop. It is only since Pignatti’s 1976 monograph that it has been generally accepted as fully autograph.
The Anointing of David. Canvas, 173 x 365.
The unusual subject is from I Samuel 16: 12-13. David kneels at the altar, while the Prophet Samuel fills his horn with oil in order to anoint the young shepherd boy the future King of Israel. The cow, whose enormous head is seen on the right, represents the heifer Samuel had brought to sacrifice in order to conceal the ceremony from Saul. The desolate ruins on the left may symbolise decline under Saul (the reigning King, who had fallen from God's favour) and the splendid buildings on the right may represent renewal under King David. This large canvas was once attributed to Zelotti or to Farinati, but now regarded as an early work of Veronese (1550s). In the Duke of Buckingham’s collection, which was sold at Antwerp in 1648; acquired by Archduke Leopold Wilhelm for his brother Emperor Ferdinand III at Prague.
Marco Curzio. Canvas, 222 in dia.
Marco Curzio was a legendary hero of Ancient Rome, who sacrificed himself to the gods of the underworld and saved the city by throwing himself, armed and on horseback, into a bottomless chasm that had opened up in the Forum. The large circular canvas is probably from a ceiling. Attributed to Veronese in the 1659 inventory of Archduke Leopold Wilhelm’s collection. Probably early. Recently restored.
Seven Biblical Subjects. Canvas, about 140 x 285.
Seven of a series of ten canvases, five illustrating scenes from the Old Testament and five from the New Testament. Two of the other scenes are in Prague and one is in Washington (sold by the Kunsthistorisches Museum in 1952). The patron of the canvases, and their original function and location, remain a mystery. The series is first recorded in 1613 in an inventory of the estate of Charles III de Croy at Beaumont Castle in Hainaut (southern Netherlands). It then appears in the 1635 inventory of the Duke of Buckingham’s collection at York House in the Strand. When the Duke’s estate was sequestered by Parliament in 1648, a loyal family servant succeeded in sending the ten pictures and others to Antwerp, where they were acquired by Archduke Leopold Wilhelm. The canvases at Vienna were transferred from Prague Castle in 1723 and 1876. It is generally agreed that they are late works of the 1580s; but they vary widely in quality of execution, and there is a wide range of opinion as to which are autograph and which are studio pieces. Veronese has sometimes been credited with the complete execution of the Hager in the Desert, while the other canvases at Vienna have usually been assigned at least partly to assistants.

Vrboska (Island of Hvar, Croatia). Church of St Lovre (St Lawrence).
St Lawrence Altarpiece. Canvas.
In the centre canvas, St Lawrence, dressed as a deacon and holding his gridiron and a martyr's palm, gazes up at a vision of the Virgin and Child. The side canvases show John the Baptist and St Nicholas of Bari. The two predella panels depict episodes from St Lawrence's life: he leads the poor to the Prefect Valerian and he is martyred on the gridiron. Three damaged panels from the top of the polyptych are now kept in the sacristy: they depict the Angel and Virgin of the Annunciation and God the Father blessing. The altarpiece can be dated between 1571 (when Hvar was sacked by the Turkish fleet and the church was burnt down) and 1579 (when Agostino Valier, Bishop of Verona, visited Vrboska). The wooden frame was destroyed in 1895, when the altarpiece was restored and the main canvases were inserted into a marble structure. A recent restoration was carried out in 2000-5. Local tradition ascribed the altarpiece to Titian. There have been modern attributions to Veronese's workshop, to Benedetto Caliari and to Parrasio Micheli (a contemporary Venetian imitator of Veronese). The execution of the three main canvases appears to be of higher quality than that of the minor panels. The 1995 monograph by Pignatti and Pedrocco classes the work as 'Veronese and workshop'.   

Washington. National Gallery.
*Martyrdom and Last Communion of St Lucy. Canvas, 140 x 173.
In an unusual treatment of the martyrdom, the saint turns her head to receive communion from a priest as the executioner plunges a dagger into her heart. In the left distance, a team of oxen tries to drag the miraculously immovable saint to a brothel. The fire behind her on the right alludes to her thwarted martyrdom by burning. Rapidly executed and with the muted tonality of Veronese’s late pictures, it may date from the early 1580s. It was painted for an altar dedicated to St Lucy in the church of Santa Croce at Belluno. It was removed from the church in Napoleonic times, and by 1814 had entered the collection of Teodoro Lechi (an aristocrat from Brescia who served as a General in the French army). It was acquired around 1827 by the Scottish painter and dealer James Irvine for Sir William Forbes of Fettercairn, and remained with Forbes' descendants for almost 150 years. It was little known until 1960, when it was loaned by Miss Diana Cinderella Bowes-Lyons (a niece of Queen Elizabeth the Queen Mother) to the Italian Art and Britain exhibition at the Royal Academy. Sold at Christie’s in 1971, and bought by the National Gallery in 1984 from Matthiesen Fine Art.
Rebecca at the Well. Canvas, 146 x 283.
The subject is from Genesis: Rebecca offers water to Abraham’s servant Eliezer, who recognises her as Isaac’s appointed bride and presents her with the betrothal jewels. From the cycle of ten religious canvases known as the ‘Duke of Buckingham series’ after the English nobleman who owned them in the early seventeenth century. Seven of the other canvases are in Vienna and two in Prague. The Rebecca at the Well is considered one of the best in the series, which was probably painted by Veronese and his workshop in the 1580s. At Vienna until 1952, when it was acquired by Kress from Knoedler’s of New York.
Annunciation. Canvas, 98 x 75.
One of several small versions of the Annunciation by Veronese, his studio or school. This example is late (mid-1580s?), and was probably painted by Veronese with some studio assistance. The composition largely repeats that of the large Annunciation that Veronese painted in 1583 for the high altar of the Escorial – which, in turn, derived partly from an Annunciation (now lost) that Titian had sent to Empress Isabella of Spain in 1537. First recorded in 1743, when it was sold in Paris with the collection of the Prince de Carignan. It then had a Noli Me Tangere as a pendant. From 1806 until 1924, it was in the collection of the Marquesses (later Dukes) of Westminster. Acquired by the Detroit banker Julius H. Haass in 1925 and by the Kress Foundation in 1957. The picture has suffered from overcleaning, and is extensively repaired and retouched.
Saint Lucy with a Donor. Canvas, 181 x 115.
The virgin martyr St Lucy, robed in shimmering silk, holds in her left hand a martyr's palm and an eye on the end of a stick. Somewhat archaically, the elderly donor, praying in the bottom right corner, is smaller in scale than the saint. The picture has sometimes been identified with the Saint Lucy that Ridolfi says Veronese painted for the Compagnia della Croce in Belluno (the church was demolished in the early nineteenth century). However, Ridolfi’s brief reference might equally apply to the Martyrdom and Last Communion of St Lucy, also at Washington. A recent theory (advanced in 2011 by Mauro Lucco) is that the picture was the altarpiece of the Abriani Chapel in the Duomo at Montagnana (near Padua). A copy of the picture is recorded in the chapel in the nineteenth century. The picture is probably a product of Veronese's late workshop (Gabriele Caliari?). From the Earl of Northesk’s collection at Ethie Castle, Arbroath; sold at Christie’s in 1925; and one of sixteen paintings bought by Kress in 1954 from the dealer Contini Bonacossi.
*Finding of Moses. Canvas, 58 x 45.
A replica, almost identical except for Pharaoh’s daughter’s costume, of the painting in the Prado. Both versions may have been in the collection of Charles I of England. The Washington one was bought for Catherine the Great in 1772 at the Paris sale of the estate of the painter Louis-Michel van Loo. It was one of twenty-one paintings sold by the Soviet government in 1930-31 to US Treasury Secretary Andrew Mellon for $6.65 million. Mellon’s paintings were donated to the Washington gallery in 1937.
Saint Jerome in the Desert. Canvas, 108 x 84.
Sometimes identified (probably wrongly) with the Saint Jerome mentioned by seventeenth-century sources (Ridolfi and Boschini) hanging over a door in the sacristy of the church of San Sebastiano at Venice. It was certainly owned by the painter Sir Peter Lely, and was included in the posthumous sale in 1682 of property from his house in Convent Garden. Bought by the Earl of Kent, it passed by inheritance to Baron Lucas of Crudwell in the early twentieth century, and then belonged for a time to the great Veronese expert Baron Detlev von Hadeln. One of sixteen paintings acquired by Kress in 1954 from Contini Bonacossi. In 2003, it was placed on loan with the Birmingham Museum of Art (Alabama). Occasional doubts about the attribution may reflect the abraded condition of much of the surface. The painting has been dated about 1580 in gallery catalogues, but earlier datings have also been proposed.

Worcester (Massachusetts). Art Museum.
Venus disarming Cupid. Canvas, 159 x 138.
Venus takes Cupid's bow, so he can no longer fire his arrows of love. The painting is a relatively recent discovery. It was bought at Christie's in 1990 for almost $3 million by the New York collector Hester Diamond. Though described in the sale catalogue as from the 'Circle of François Boucher', it was recognised as a work of Veronese before the auction and subsequently included in Pignatti and Pedrocco's L'Opera Completa (1991). It has been dated around 1560. Mrs Diamond loaned the picture to the Metropolitan Museum, New York, in 2006 and bequeathed it to the Worcester museum in 2013. 

Zurich. Kunstmuseum.
St Gregory; St Jerome. Canvas, 78/77 x 35.
These two small pictures were probably oil sketches (modelli) for the doors of an organ. Late (about 1580?). Once in the collection of Sir Charles Eastlake, they remained in England until 1955, when they were sold at Sotheby’s. They came to the museum from the Koetser Gallery in Zurich.