in magnificent colour. To follow them further leads into the Late Renaissance and Baroque.1
In Paolo Cagliari of Verona the style of art represented by Bonifazio continues in a more monumental style. Ceremonial and festivity mark the new Venetian taste, earlier seen in Gentile Bellini, Carpaccio, and Bonifazio, and carried on in Badile and Brusasorci of Verona, who marked the beginning of a decadent and baroque taste in Venice.3 Yet Veronese himself is unspoiled and entirely wholesome. His reputed master, Antonio Badile, helps little to explain him. Richter4 and Berenson emphasize the influence of Brusasorci upon the young painter, but his work is Venetian in spirit rather than provincial, although in some early pictures, which are looser in form and pattern than later work, as the Deposition, London, a light colour scheme and less forceful execution betrays the influence of the Veronese masters, particularly Brusasorci. Yet in other early pictures,5 as the Martyrdom of S. Giustina (Uffizi), Titian's forming influence is evident.
Veronese's life seems to have been uneventful, except that he was evidently at home in the magnificent events which seem to have made Venetian life a continual pageant. From his art he appears as a man of the world, gracious and tolerant, at once a participator and an onlooker, the friend and painter of the characters he so courteously portrays. He so sympathises with the life about him that he tends to secularise religious themes, and in the religious reaction of the time he was called before the Inquisition and rebuked for the humorous motives--monkeys, etc.--introduced into a religious scene. He was courted and beset with orders. Some of the most magnificent commissions of the Ducal Palace are his, and his paintings abound in Venice and____________________