The next room is devoted to Paul Veronese. This Paul has quite a
character of his own--a grand old Venetian, with his head full of
stateliness, and court ceremony, and gorgeous conventionality, half
Oriental in his passion for gold, and gems, and incense. As a specimen
of the subjects in which his soul delights, take the following, which
he has wrought up into a mammoth picture: Faith, Love, and Hope,
presenting to the Virgin Mary a member of the old Venetian family of
Concina, who, after having listened to the doctrines of the
reformation, had become reconciled to the church. Here is Paul's
piety, naively displayed by giving to the Virgin all the courtly
graces of a high-born signorina. He paints, too, the Adoration of the
Magi, because it gives such a good opportunity to deal with camels,
jewels, turbans, and all the trappings of Oriental royalty. The Virgin
and Child are a small part of the affair. I like Paul because he is so
innocently unconscious of any thing _deep_ to be expressed; so
honestly intent on clothes, jewels, and colors. He is a magnificent
master of ceremonies, and ought to have been kept by some king
desirous of going down to posterity, to celebrate his royal praise and
glory.
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