See also:

• PAUL
• PAUL (PAULUS)

PAUL VERONESE (1528-1588)  , the name ordinarily given to See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo Caliari, or Cagliari, the latest of the See also:

• GREAT

great See also:

• CYCLE
• CYCLE (Gr. KUK)^os, a circle)

cycle of painters of the Venetian school, who was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• VERONA
• VERONA, CONGRESS OF

Verona in 1528 according to Zanetti and others, or in 1532 according to See also:

• RIDOLFI, or RIDOLFO, ROBERTO DI (1531-1612)

Ridolfi . His See also:

• FATHER

father, Gabriele Caliari, a sculptor, began to See also:

• TRAIN (M. Eng. trayn or trayne, derived through Fr. from Late Lat. trahinare, to drag, draw, Lat. trahere, cf. trail, trace, ultimately from the same source)

train Paolo to his own profession . The boy, however, showed more propensity to See also:

• PAINTING

painting, and was therefore transferred to his See also:

• UNCLE

uncle, the painter See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Badile, whose daughter he eventually married . According to See also:

• VASARI, GIORGIO (1511-1571)

Vasari, he was the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Giovanni Carotto, a painter proficient in See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective; this statement remains unconfirmed . Paolo, in his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early years, applied himself to copying from the engravings of See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Diirer and the drawings of See also:

• PARMIGIANO
• PARMIGIANO (1504-154o)

Parmigiano . He did some See also:

• WORK

work in Verona, but found there little outlet for his abilities, the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field being See also:

• PRETTY

pretty well occupied by Ligozzi, Battista dal See also:

• MORO, ANTONIO (c. 1512-1575)

Moro, Paolo See also:

• FARINATO, PAOLO (1522–1606)

Farinato, Domenico Riccio, Brusasorci and other artists . See also:

• CARDINAL (Lat. cardinalis)

Cardinal Ercole See also:

• GONZAGA
• GONZAGA, THOMAZ ANTONIO (1744-1809)

Gonzaga took him, when barely twenty years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, to See also:

• MANTUA (Ital. Mantova)

Mantua, along with the three last-named painters, to execute in the See also:

• CATHEDRAL

cathedral a picture of the " Temptation of St See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony "; here Caliari was considered to excel his competitors . Returning to Verona, he found himself exposed to some envy and See also:

• ILL

ill-will . Hence he formed an See also:

• ARTISTIC

artistic See also:

• PARTNERSHIP (earlier forms, partener, parcener, from Late Lat. partionarius for partitionarius, from partitio, sharing, pars, part)

partnership with Battista Zelotti, and they painted together in the territories of See also:

• VICENZA

Vicenza and Treviso . Finally Paolo went on to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . In this See also:

• CITY (through Fr. cite, from Lat. civitas)

city his first pictures were executed, in 1555, in the See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy and See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of S . Sebastiano, an uncle of his being See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

prior of the monastery .

The subjects on the vaulting are taken from the See also:

• HISTORY

history of See also:

• ESTHER

Esther; and these excited so much admiration that henceforward Caliari, aged about twenty-eight, ranked almost on a See also:

• PAR (Lat. par, equal)

par with See also:

• TINTORETTO, JACOPO ROBUSTI (1518-1594)

Tintoretto, aged about See also:

• FORTY

forty-five, or with See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, who was in his eightieth See also:

• YEAR

year . Besides the Esther subjects, these buildings contain his pictures of the " See also:

• BAPTISM

Baptism of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," the " Martyrdom of St See also:

• MARCUS

Marcus and St See also:

• MARCELLINUS, ST

Marcellinus," the " Martyrdom of St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian," &c . As regards this last-named work, dating towards 1563, there is a vague tradition that Caliari painted it when he had taken See also:

• REFUGE

refuge in the monastery . He entered into a competition for painting the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling of the library of St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark, and not only obtained the See also:

• COMMISSION (from Lat. commissio, committere)

commission but executed it with so much See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power that his very rivals voted him the See also:

• GOLDEN

golden See also:

• CHAIN (through the O. Fr. citable, chcene, &c., from Lat. catena)

chain which had been tendered as an honorary distinction . At one See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he returned to Verona, and painted the " Banquet in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of See also:

• SIMON, ABRAHAM (1622-1692)
• SIMON, JULES FRANCOIS (1814–1896)
• SIMON, RICHARD (1638–1712)
• SIMON, SIR JOHN (1816–1904)
• SIMON, THOMAS (c. 1623-1665)

Simon the Pharisee, with Jesus and See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Magdalene "—a picture now in See also:

• TURIN

Turin . In 156o, however, he was in Venice again, working partly in the S . Sebastiano buildings and partly in the ducal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace . He visited See also:

• ROME
• ROME (Roma)

Rome in 1563, in the See also:

• SUITE (Suite de pieces; Ordre; Partita)

suite of See also:

• GIROLAMO (1450-1486)

Girolamo Grimani, the Venetian See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador, and studied the See also:

• WORKS

works of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, and especially the See also:

• ANTIQUE (Lat. antiquus, old)

antique . Returning to Venice, he was overwhelmed with commissions . He was compelled to decline an invitation from See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip II. to go to See also:

• SPAIN
• SPAIN (Espana)

Spain and assist in decorating the See also:

• ESCORIAL

Escorial . One of his pictures of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period is the famous " Venice, See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea," in the ducal palace . He died in Venice on the loth (orperhaps rgth) of See also:

• APRIL

April 1588, and was buried in the church of S .

Sebastiano, a See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument being set up to him there by his two sons, Gabriele and Carlo, and his See also:

• BROTHER

brother, Benedetto, all of them painters . Beyond his magnificent performances as a painter, the known incidents in the See also:

• LIFE

life of See also:

• PAUL
• PAUL (PAULUS)

Paul Veronese are very few . He was honoured and loved, being See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, amiable, generous and an excellent father . His See also:

• PERSON, OFFENCES AGAINST THE

person is well known from the portraits See also:

• LEFT

left by himself and others: he was a dark See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, rather See also:

• GOOD, JOHN MASON (1764-1827)

good-looking than otherwise, somewhat bald in early See also:

• MIDDLE

middle age, and with nothing to mark an exceptional See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy or turn of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character In his works the first quality which strikes one is their palatial splendour . The pictorial See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration is entirely that of the piercing and comprehens've See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye and the magical See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand—not of the mind . The human See also:

• FORM (Lat. forma)

form and See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face are given with decorous comeliness, often with beauty; but of individual apposite expression there is next to none . In fact, Paolo Veronese is pre-eminently a painter working pictorially, and in no See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise amenable to a See also:

• LITERARY

literary or rationalizing See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard . He enjoys a sight much as See also:

• ARIOSTO, LODOVICO (1474-1533)

Ariosto enjoys a See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story, and displays it in form and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour with a zest like that of Ariosto for See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language and See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse . He was supreme in representing, without huddling or confusion, numerous figures in a luminous and diffused See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere, while in richness of draperies and transparency of shadows he surpassed all the other Venetians or Italians . In gifts of this kind See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens alone could be pitted against him . In the moderation of See also:

• ART

art combined with its profusion he far excelled Rubens; for, dazzling as is the first impression of a great work by Veronese, there is in it, in reality, as much of soberness and serenity as of exuberance . By variety and apposition he produces a most brilliant effect of colour; and yet his hues are seldom See also:

• BRIGHT, JOHN (1811-188g)
• BRIGHT, SIR CHARLES TILSTON

bright .

He hoards his See also:

• PRIMARY

primary tints and his high See also:

• LIGHTS, CEREMONIAL USE OF

lights . He very rarely produced small pictures: the spacious was his See also:

• ELEMENT (Lat. elementum)

element . Of all Veronese's paintings the one which has obtained the greatest See also:

• WORLD

world-wide celebrity is the vast " See also:

• MARRIAGE

Marriage at See also:

• CANA

Cana," now in the Louvre . It contains about a See also:

• HUNDRED

hundred and twenty figures or heads—those in the foreground being larger than life . Several of them are portraits . Among the personages specified (some of them probably without sufficient See also:

• REASON (Lat. ratio, through French raison)

reason) are the See also:

• MARQUIS

Marquis del See also:

• VASTO (anc. Histonium)

Vasto, Queen Eleanor of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I., Queen Mary of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, See also:

• SULTAN (an Arabic word meaning " victorious " or " a ruler," sultat, dominion)

Sultan Soleyman I., See also:

• VITTORIA

Vittoria See also:

• COLONNA
• COLONNA, GIOVANNI PAOLO (circa 1637—1695)
• COLONNA, VITTORIA (1490-1547)

Colonna, See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V., Tintoretto, Titian, the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder See also:

• BASSANO
• BASSANO, JACOPO DA PONTE (1510-1592)

Bassano, Benedetto Caliari and Paolo Veronese himself (the figure playing the See also:

• VIOL

viol) . It is impossible to look at this picture without astonishment . The only point of view from which it fails is that of the New Testament narrative; for there is no relation between the Galilean See also:

• WEDDING

wedding and Veronese's See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court-banquet . This stupendous performance was executed for the See also:

• REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory of the monastery of S . Giorgio See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore in Venice, the See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract for it being signed in See also:

• JUNE

June 1562 and the picture completed in See also:

• SEPTEMBER (Lat. septem, seven)

September 1563 . Its See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price was 324 See also:

• SILVER

silver ducats (=16o), along with the artist's living expenses and a See also:

• TUN

tun of See also:

• WINE (Lat. vinum, Gr. oivos)

wine . There are five other great banquet-pictures by Caliari, only inferior in See also:

• SCALE
• SCALE (1) A

scale and excellence to this of Cana .

One of them is also in the L luvre, a " Feast in the House of Simon the Pharisee," painted towards 1570-1575 for the refectory of the See also:

• SERVITES

Servites 1 Venice . A different version of the same theme is in the Brera See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . " The Feast of Simon the Leper " (1570) was done for the refectory of the monks of St Sebastian, and the " Feast of See also:

• LEVI, HERMANN (1839-1900)
• LEVI, LEONE (1821-1888)

Levi " (St See also:

• MATTHEW, GOSPEL OF ST
• MATTHEW, ST (MaOOaior or MarOaIos, probably a shortened form of the Hebrew equivalent to Theodorus)
• MATTHEW, TOBIAS

Matthew) (1573), now in the Venetian See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy, for the refectory of the monks of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John and St Paul . In each instance the price barely exceeded the cost of the materials . The Louvre contains ten other specimens of Veronese, notably the " Susanna and the Elders" and the " Supper at See also:

• EMMAUS

Emmaus." In the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, are ten examples . The most beautiful is " St See also:

• HELENA
• HELENA, ST (c. 247-c. 327)

Helena's See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of the See also:

• CROSS

Cross," founded upon an See also:

• ENGRAVING

engraving by See also:

• MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio after a See also:

• DRAWING

drawing supposed to be the work of Raphael . Far more famous than this is the " See also:

• FAMILY

Family of See also:

• DARIUS (Pers. Darayavaush; Old Test. Daryavesh)

Darius at the Feet of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander the Great after the See also:

• BATTLE

Battle of Issus"—the captives having mistaken See also:

• HEPHAESTION

Hephaestion for Alexander . It was bought for 13,56o, and has even been termed (very unreasonably) the most celebrated of all Veronese's works . The See also:

• PRINCIPAL

principal figures are portraits of the See also:

• PISANI, VETTOR (d. 1380)

Pisani family . It is said that Caliari was accidentally detained at the Pisani See also:

• VILLA

villa at See also:

• ESTE
• ESTE (anc. Ateste, q.v.)

Este, and there painted this work, and, on quitting, told the family that he had left behind him an See also:

• EQUIVALENT

equivalent for his courteous entertainment . Another picture in the National Gallery, " See also:

• EUROPA (or rather, EUROPE)

Europa and the See also:

• BULL
• BULL, GEORGE (1634–1710)
• BULL, JOHN (c. 1562–1628)
• BULL, OLE BORNEMANN (18ro-188o)

Bull," is a study for the large painting in the imperial gallery of See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, and resembles one in the ducal palace of Venice . The Venetian academy contains fourteen works by Veronese .

One of the finest is a comparatively small picture of the Battle of See also:

• LEPANTO

Lepanto, with Christ in See also:

• HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

heaven pouring See also:

• LIGHT

light upon the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian See also:

• FLEET

fleet and darkness on the See also:

• TURKISH

Turkish . In the Uffizi Gallery of See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence are two specimens of exceptional beauty—the " See also:

• ANNUNCIATION

Annunciation " and " Esther Presenting herself to See also:

• AHASUERUS (the Latinized form of the Hebrew siSi nte; in LXX. 'AQ rofrgpos, once in Tobit 'Ao o pos)

Ahasuerus" ; for delicacy and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm this latter work yields to nothing that the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master produced . In Verona " St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George and St See also:

• JULIAN (FLAVIUS CLAUDIUS JULIANUS) (331-363)

Julian," in See also:

• BRESCIA
• BRESCIA (anc. Brixia)

Brescia the " Martyrdom of St Afra," and in See also:

• PADUA (Lat. Patavium ; Ital. Padova)

Padua the " Martyrdom of St Justina" are works of leading renown . Celebrated frescoes by Caliari are in four villas near Venice, more especially the Villa Masiera . His drawings are very See also:

• FINE

fine, and he took See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure at times in engraving on See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper . The brother and sons of Paolo already mentioned, and Battista Zelotti, were his principal assistants and followers . Benedetto Caliari, the brother, who was about ten years younger than Paolo, is reputed to have had a very large See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the architectural backgrounds which form so conspicuous a feature in Paolo's compositions . If this is not overstated, it must be allowed that a substantial share in Paolo's fame accrues to Benedetto; for not only are the backgrounds admirably schemed and limned, but they govern to a large extent the invention and See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

distribution of the See also:

• GROUPS
• GROUPS, THEORY

groups . Of the two sons Carlo (or Carletto), the younger, is the better known . He was born in 1570, and was sent to study under Bassano . He produced various noticeable works, and died See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young in 1596 . Gabriele, born in 1568, attended, after Carlo's See also:

• DEATH

death, almost entirely to commercial affairs; his works in painting are rare .

All three were occupied after the death of Paolo in See also:

• FINISHING

finishing his pictures left uncompleted . See Ridolfi, Le Meraviglie dell' arte, &c.; Dal Pozzo, Vile de' piltori veronesi, &c.; Zanetti, Della Pittura veneziana, &c.; and Lanni ; also, among See also:

• RECENT

recent works, the See also:

• BIOGRAPHIES

biographies by C . Yriarte (1888); F . H . Meiotic' . (1897); and Mrs See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell (19o4) . (W . M .