Contents: Introduction: Early Career in Verona; Venice: the Rooms of the Council of Ten in the Ducal Palace: Daniele Barbaro; Consolidation: the frescoes at the Villa Barbaro, Maser; Consolidation in Venice: San Sebastiano; Recognition and the revival of Venetian tradition; When seeing is believing; The master narrator - the mature secular narratives; The master narrator - the mature religious paintings; Late style: the religious paintings; Piety and display; From Verona to Venice; Venice the heir of Constantinople and new Rome; Change and the Venetian society and Art; Veronese; The Venetian patrons; Veronese's other patrons; Public Display 1550- 1565; Recognition; Veronese and the tradition of the Venetian alterpiece; Veronese and the tradition of Venetian ceiling painting; San Sebastiano; The ceiling of the Jesuit church of Santa Maria dell' Umilta ; Venetian Tradition renewed; Veronese and Catholic renewal; Public display 1566-1588: The saint as martyr; The Council of Trent and the cult of saints; The saint as exemplar; Veronese and the tradition of the Venetian altarpiece; Christ's Baptism and Crucifixion; Lavish Display in existing churches: San Giacomo, Murano; San Nicolo ai Frari; Santa Maria Maggiore; The new status; Paintings for Private Display; Smaller devotional paintings; Larger narrative paintings; Paintings for camere grandi: the Coccina palace; Old and New Testament subjects for the Bonaldi, Charles Duke of Savoy, Simone Lando and Charles de Croy; Individual canvases; Christ's Feasts and Last Supper: Feast in the House of Simon, Turin; The Marriage Feast at Cana; Feast in the House of Simon, San Sebastiano and S.Maria dei Servi; Feast in the House of Levi, SS. Giovanni e Paolo; Last Supper, Santa Soffia; Catalogue.

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