The harmonious colour, the sense of material magnificence, and the masterly draughtsmanship of Paolo Veronese (1528-1588) are seen to the greatest advantage in his _Marriage at Cana_ (No. 1192). He signed a contract in June 1562, to paint this large picture, which measures 21 ft. × 32 ft., for the refectory of San Giorgio Maggiore at Venice, and completed it by September 8, 1563. According to the agreement, Paolo was to receive 324 ducats, a sum equal to-day to about £200; to be fed during the time he was engaged on the work; to be repaid the cost of the materials; and to receive a pipe of wine. The picture was seized by Napoleon during his victorious campaign of 1797, and brought by road to Paris. In accordance with the terms of the Peace of Campo Formio of 1814, it should have been returned. As it had proved a very difficult matter to take it to Paris, where it had to go into the restorer’s hands, the French urged that it was too vast and too dilapidated to bear a second journey. Astonishing as it may seem to us to-day, the Italians accepted the suggestion and in exchange took Charles Le Brun’s large but mediocre _Magdalene at the Feet of Jesus_, perhaps because it measured 12 ft. 6 in. × 10 ft. 4 in. Le Brun’s picture now hangs in the Venice Gallery (No. 377), the Catalogue of which pointedly remarks that “the exchange is much to be regretted.” [Illustration: PLATE XIII.—TITIAN (1489?-1576) VENETIAN SCHOOL No. 1584.—THE ENTOMBMENT (La Mise au Tombeau) The dead body of the Christ is borne on a white cloth by Nicodemus and Joseph of Arimathæa. Nicodemus is seen from the back wearing a pale red tunic and a parti-coloured scarf; Joseph of Arimathæa in green robes is in profile towards the right. St. John in a red robe supports the right arm of the Christ. To the left St. Mary Magdalene, with her arms around the Virgin, gazes in profound grief at the Christ. The Virgin with clasped hands bends forward to look at her Son. Painted in oil on canvas. 4 ft 10½ in. × 7 ft. 1 in. (1·48 × 2·15.)]