Paolo Veronese

might still have been felt.

All Perugia had to do was go into the gallery where they have the Veronese masterpiece, the Feast of Cana, and he could see a gigantic Italian work of art that was stolen from a Venetian church and was never returned.

there are still works of Napoleonic loot that are still in France.

I was disgusted,

You have hesitated between drawing and color, between the dogged attention to detail, the stiff precision of the German masters, and the dazzling glow, the joyous exuberance of Italian painters.

You have set yourself to imitate Hans Holbein and Titian, Albrecht Dürer and Paul Veronese in a single picture.

A magnificent ambition, truly, but what has come of it? Your work has neither the severe charm of a dry execution nor the magical illusion of Italian chiaroscuro.

Titian's rich golden coloring poured into Albrecht Dürer's austere outlines has shattered them like molten bronze bursting through the mold that is not strong enough to hold it.

You have hesitated between drawing and color, between the dogged attention to detail, the stiff precision of the German masters, and the dazzling glow, the joyous exuberance of Italian painters.

You have set yourself to imitate Hans Holbein and Titian, Albrecht Dürer and Paul Veronese in a single picture.

A magnificent ambition, truly, but what has come of it? Your work has neither the severe charm of a dry execution nor the magical illusion of Italian chiaroscuro.

Titian's rich golden colouring poured into Albrecht Dürer's austere outlines has shattered them like molten bronze bursting through the mould that is not strong enough to hold it.

This palace was the residence of the Doge, the Supreme Authority of the former Venetian Republic, and it is a masterpiece of Gothic architecture.

As you enter, the audio guide will lead you through opulent halls filled with masterpieces by Titian, Tintoretto, and Veronese, narrating the tales of political intrigue and artistic patronage that shaped Venice.

The tour will also take you through the narrow passageways leading to the palace's prisons, where you'll learn about the darker chapters of Venetian history.

The infamous bridge of size connects the palace to the prisons, offering one of the most poignant views of Venice, supposedly the last view that prisoners saw before their incarceration.

You have hesitated between drawing and color, between the dogged attention to detail, the stiff precision of the German masters, and the dazzling glow, the joyous exuberance of Italian painters.

You have set yourself to imitate Hans Holbein and Titian, Albrecht Dürer and Paul Veronese in a single picture.

A magnificent ambition, truly, but what has come of it? Your work has neither the severe charm of a dry execution nor the magical illusion of Italian chiaroscuro.

Titian's rich golden coloring poured into Albrecht Dürer's austere outlines has shattered them like molten bronze bursting through the mold that is not strong enough to hold it.

Other great 15th century artists were Fra Filippi Lippi, 1406 to 69, Fra Angelico, 1387 to 1455, whose loving nature caused him to decorate the cells of the monks in San Marco at Florence with beautiful frescoes; Botticelli, 1446-1510, specially famous for his treatment of classical myths; Ghirlandaio, 1449-98; Pietro Perugino, who died in 1524, the master of Raphael; Mantegna, 1430-1506, the inventor of engravings; the Bellini and Carpaccio, who died in 1519.

But it is the very end of the 15th century and the first 30 years of the 16th that give us the greatest names in Renaissance paintings, the names of Leonardo da Vinci, 1452-1519, painter, sculptor, architect, engineer, scientist, and musician; Michelangelo, Raphael, 1485-1520, whose work, particularly in the Vatican frescoes, was so perfect that when he died, inspiration seemed to pass from his followers as color fades from clouds at sunset; Andrea del Sarto, who died in 1531, and the four great painters of the Venetian school, Giorgione, 1478-1511, Titian, 1477-1576, Tintoretto, who died in 1594, and Veronese, who died in 1588.

It was natural that this most glorious of all periods in the history of art should be followed by one of mediocrity, when the artist, in striving after perfection of style, lost almost all spontaneity of inspiration, and that there could be no new period of artistic production until there were new spiritual impulses to give rise to it.

D.

The blaze destroyed interiors and important works of art, although the principal structure survived.

Reconstruction brought new decorations by Tintoretto, Veronese, and other leading painters.

Work was still shaping the renewed state rooms when disaster returned little more than three years later.

The timing could scarcely have been worse.

Nevertheless, restoring the assembly so quickly allowed Venice to convert a scene of vulnerability into proof of institutional endurance.

The new ceilings and walls did not attempt to recreate every lost work.

Instead, the government commissioned another enormous program from artists including Paolo Veronese, Jacopo Tintoretto, Domenico Tintoretto, Palma il Giovane and Francesco Bassano.

Their paintings again connected the Venetian government with religion, military courage and civic virtue.