_Paolo Veronese_ (Veronese: 1528-1588). _See 26._
The four Veroneses (1325, 1324, 1318, and 1326), acquired from
Cobham Hall, "obviously formed a series, or portions of a series,
of enrichments for a ceiling, and must be looked at accordingly.
They exhibit the decorative power of Veronese at a very high
pitch in respect to colour, composition, and action, while his
characteristically large and bold style of design and draughtsmanship
are most fortunately employed upon them. One may readily conceive
the magnificence of the saloon for which they were executed, and of
which they must have been the chief ornaments. Sumptuous as they are
now, their superb qualities would be enhanced if they could be seen
with all their original accompaniments of gilding, carved frames, and
magnificent furniture" (_Athenæum_, August 16, 1890).
The subjects of the pictures are moral allegories, and they go in
pairs. Thus we have first "Respect" (1325) and "Scorn" (1324). In the
former picture, a nude female figure--whose beautiful face recalls
that of the "St. Helena" (see No. 1041)--is seen recumbent on a couch,
asleep or lost in dreams. Cupid is leading a warrior, clad in sumptuous
costume, but he turns aside, held back by an older man, in chivalrous
_respect_. He is contrasted in the companion picture with another male
figure, who lies prostrate while a Cupid tramples in _scorn_ upon him.
On the left two females (contrasting with the two men in the former
pictures) are hurrying away. The elder carries an ermine, the emblem of
purity, and guides the younger and more beautiful woman whom she has
rescued from peril.
In the other two pictures the faithfulness and unfaithfulness of woman
are similarly contrasted. In "Unfaithfulness" (1318) a nude female
figure, seated on a bank with her back turned to the spectator, extends
her arm towards a man who grasps her right hand, while she with her
left is employed in furtively delivering a letter to a more youthful
lover on the other side. He is of the same type as the figure of
Alexander in the Family of Darius (294). Finally, in "Happy Union"
(1326) the painter shows us the reward of faithfulness. Here a Cupid
is introducing a warrior to a queenly figure--whom we may take to
personify Fame or Fortune--seated on a globe at the entrance to some
palace. She is placing a wreath upon the man's brow; he is led by a
beautiful woman who carries a palm which she is about to present to
him. She in her turn is guided by a little Love who has hold of a
golden chain around her waist. A dog is also in attendance. It is a
pretty trait of the Venetian schools, the frequency with which a pet
dog is introduced into scenes of domestic felicity.
The prices paid for these pictures are interesting. They belonged at
one time to Queen Christina of Sweden, and afterwards passed into
the Orleans Collection. At the sale of that collection, the Tintoret
fetched £50, and the four Veroneses £198. Lord Darnley made a handsome
"unearned increment" out of them. For the Tintoret and one of the
Veroneses (1318) the nation paid £2500. For two more of the Veroneses
the same price was paid. The fourth Veronese (1325) was presented by
Lord Darnley.