Plate I. Jupiter Destroying the Vices Frontispiece In the Musée du Louvre II. The Disciples at Emmaus 14 In the Musée du Louvre III. The Holy Family 24 In the Musée du Louvre IV. The Wedding at Cana 34 In the Musée du Louvre V. The Family of Darius 40 In the National Gallery, London VI. Calvary 50 In the Musée du Louvre VII. The Marriage of St. Catherine 60 In the Accademia delle Belle Arti, Venice VIII. The Vision of St. Helena 70 In the National Gallery, London [Illustration] INTRODUCTION It has been said of Veronese that he was the most absurd and the most adorable of the great painters. Paradoxical as it sounds, this judgment is perfectly true. Absurd, Veronese undoubtedly was, in his disdain of logic and common sense, in his complete indifference to historic truth and school traditions, and in his anachronistic habit of garbing antiquity in modern raiment. "I paint my pictures," he said, "without taking these matters into consideration, and I allow myself the same license which is granted to poets and to fools." And it is precisely his riotous fantasy, his naïve self-confidence, his own peculiar way of understanding mythology and religion that have made him the adorable artist whose glory has been consecrated by the centuries.