Excerpt: ... respects, Veronese surpassed both. But he was certainly deficient in a sense of suitability and probability. He, of all painters, carried to an outrageous extent the practice, which I have defended in some degree, of painting sacred and historical subjects as if they had happened in his own day and city. He violated taste and even reason in painting every scene, lofty or humble, sacred or profane, alike, with the pomp of splendour and richness of ornament which were the fashion of the time; but he had a vivid perception of character, and a certain greatness of mind which redeemed his plethora of gorgeousness from monotony or vulgarity. Veronese is reported to have been far more correct and careful in drawing than was Tintoret, while Veronese's prodigality of colour was a mellowed version of Tintoret's glare or deadness. One of Veronese's best pictures is the 'Marriage of Cana, ' painted originally for the refectory of the convent of San Giorgio, Venice, and now in the Louvre. 'It is not less than thirty feet long and twenty feet high, and contains about one hundred and thirty figures, life size. The Marriage Feast of the Galilean citizen is represented with a pomp worthy of "Ormuz or of Ind." A sumptuous hall of the richest architecture; lofty columns, long lines of marble balustrades rising against the sky; a crowd of guests splendidly attired, some wearing orders of knighthood, are seated at tables covered with gorgeous vases of gold and silver, attended by slaves, jesters, pages, and musicians. In the midst of all this dazzling pomp, this display of festive enjoyment, these moving figures, these lavish colours in glowing approximation, we begin after a while to distinguish the principal personages, our Saviour, the Virgin Mary, the twelve Apostles, mingled with Venetian senators and ladies, clothed in the rich costume of the sixteenth century; monks, friars, poets, artists, all portraits of personages existing in his own time; while in a group...