Veronese, Paolo

Biblical scenes, Venetian church subjects and the myth of Europa show how Paolo Veronese's compositions went on reaching rea...

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Biblical scenes, Venetian church subjects and the myth of Europa show how Paolo Veronese's compositions went on reaching readers long after his death. These prints are not original impressions but later reproductions after the Venetian Renaissance painter, who lived from 1528 to 1588, published between 1752 and 1930. Plates for Thomas Stackhouse's A New History of the Holy Bible carry separate engraving credits, including Hulett and I. S. Miller. The Consecration of Saint Nicholas and Europa are subjects familiar from nineteenth-century gallery illustration, and the Marriage of Saint Catherine adds a later church subject from Venice.

Biblical scenes, Venetian church subjects and the myth of Europa show how Paolo Veronese's compositions went on reaching readers long after his death. These prints are not original impressions but later reproductions after the Venetian Renaissance painter, who lived from 1528 to 1588, published between 1752 and 1930. Plates for Thomas Stackhouse's A New History of the Holy Bible carry separate engraving credits, including Hulett and I. S. Miller. The Consecration of Saint Nicholas and Europa are subjects familiar from nineteenth-century gallery illustration, and the Marriage of Saint Catherine adds a later church subject from Venice.

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