He became known in time as "the most magnificent of magnificent painters." He loved the gaieties of Venice; the lords and ladies; the exquisite colouring; the feasting and laughter, and everything he painted, showed this taste. When he chose great religious subjects he dressed all his figures in elegant Venetian costumes, in the midst of elegant Venetian scenes. His Virgins, or other Biblical people, were not Jews of Palestine, but Venetians of Venice, but so beautiful were they and so inspiring, that nobody cared to criticise them on that score. He loved to paint festival scenes such as, "The Marriage at Cana," "Banquet in Levi's House," or "Feast in the House of Simon." He painted nothing as it could possibly have been, but everything as he would have liked it to be. Into the "Wedding Feast at Cana," where Jesus was said to have turned the water into wine, he introduced a great host of his friends, people then living. Titian is there, and several reigning kings and queens, including Francis I. of France and his bride, for whom the picture was made. This treatment of the Bible story startles the mind, but delights the eye. It was said that his "red recurred like a joyful trumpet blast among the silver gray harmonies of his paintings." Muther, one who has written brilliantly about him, tells us that "Veronese seems to have come into the world to prove that the painter need have neither head nor heart, but only a hand, a brush, and a pot of paint in order to clothe all the walls of the world with oil paintings" and that "if he paints Mary, she is not the handmaid of the Lord or even the Queen of Heaven, but a woman of the world, listening with approving smile to the homage of a cavalier. In light red silk morning dress, she receives the Angel of the Annunciation and hears without surprise--for she has already heard it--what he has to say; and at the Entombment she only weeps in order to keep up appearances." Such criticism raises a smile, but it is quite just, and what is more, the Veronese pictures are so beautiful that one is not likely to quarrel with the painter for having more good feeling than understanding. His joyous temperament came near to doing him harm, for he was summoned before the Inquisition for the manner in which he had painted "The Last Supper." After the Esther pictures in St. Sebastian, the artist painted there the "Martyrdom of St. Sebastian," and there is a tradition that he did his work while hiding in the monastery because of some mischief of which he had been guilty. At that time he was not much more than twenty-six or eight, while the great painter Tintoretto was forty-five, yet his work in St. Sebastian made him as famous as the older artist.