Burton points out, much of the tradition of the Veronese school. "The silvery tone which differentiates his best works from the golden lustre of Titian was not gained in Venice, and under the lightsome skies of the lagoons he was not tempted to alter it." In the tone of his mind Veronese was thoroughly Venetian. It is a certain "gay grasp of the outside aspects of the world" that distinguishes him. "By habitual preference, exquisitely graceful and playful; religious, without severity, and winningly noble; delighting in slight, sweet everyday incident, but hiding deep meanings underneath it; rarely painting a gloomy subject, and never a base one" (_Modern Painters_, vol. iii. pt. iv. ch. iii. § 16; vol. iv. pt. v. ch. iii. § 18, ch. xx. § 16; vol. v. pt. ix. ch. iii. § 27; _Cambridge Inaugural Lecture in O.O.R._, vol. i. § 314). Thus Venetian in character, it is the Venice of his time--with all its material magnificence and pride of life of a nation of merchant princes--that Veronese everywhere paints. "Veronese," says Symonds, "elevated pageantry to the height of serious art. His domain is noonday sunlight ablaze on sumptuous dresses and Palladian architecture. Armour, shot silks and satins, brocaded canopies, banners, plate, fruit, sceptres, crowns--all things, in fact, that burn and glitter in the sun--form the habitual furniture of his pictures." It is characteristic of the spirit of his time that the pictures by Veronese of banquets and other scenes of gaiety were mostly painted for monasteries. The frank introduction of the costumes of the painter's own time, clothing the fine race to which he belonged, gives to his pictures of this kind an historical interest. Often he introduces portraits into his groups. In expression his figures are often deficient. "He will make the Magdalene wash the feet of Christ with a countenance as absolutely unmoved as that of any ordinary servant bringing an ewer to her master." Animal force in men, superb voluptuousness in women, were his favourite types. "His noblest creatures are men of about twenty-five, manly, brawny, crisp-haired, full of nerve and blood. In all this Veronese resembles Rubens. But he does not, like Rubens, strike us as gross, sensual, fleshly; he remains proud and powerful, and frigidly urbane. The same love of display led him to delight in allegory--not allegory of the deep and mystic kind, but of the pompous and processional, in which Venice appears enthroned among the deities, or the genii of the arts are personified as handsome women and blooming boys." He painted with marvellous facility and revelled, as we have seen, in exuberance. In this he resembled Rubens, but he combined, as Rubens did not, moderation with profusion.