10-12 Veronese

hello I now come to the last of the three great Venetian artists in my Trilogy Paulo vereni he was a dedicated professional artist he ran a large Workshop in Venice and received numerous commissions throughout his life he would have walked through this area as it's changed little since the 16th century so let me take you through a few features you can make out in the background at the end of St Mark Square three large Mast likee flag poles they have bronze bases decorated in High Relief by alesandro leopardi in 1505 and they would have flown the Venetian flag of St Mark in the time of the Republic of Venice but they now also fly the Italian flag they're positioned as I said at the end of St Mark Square opposite St Mark's Basilica and you can just make out one of the domes on the right in front of us there's um the campel of St Mark the the the bell tower it started in 1156 restored in 1514 but it collapsed in 1902 and it was rebuilt in 1912 as it was where it was so it's a reproduction of the original tower at the bottom you can see there's a small building known as the Letta Del sansovino built by sansovino between 1537 and 1546 so it would have been completed by the time veronesi came to Venice in 1553 and at the end of St Mark Square you can now see the three domes of St Mark's Basilica that was started in 978 and consecrated in 1117 so it was over 400 years old by the time Veronia arrived now this talk is about Veri but it must be remembered that I'm talking about the three great artists in Venice at the time tishan Tinto and veroni which you see here all three were brilliant ambitious fiercely competitive and competing with each other for Primacy now veroni on the right was the youngest by 10 years and after tian's death when vereni was 48 he continued to compete with Tinto for another dozen years before vereni died now although they were Rivals they also so inspired and influenced one another because each one um saw the work of the others and regarded as a sort of stimulus to um do do even better themselves so they all contributed to this enormous artistic Revival taking place in Venice their focus of course was color as opposed to line which was the um Forte of Art arst like Raphael Michelangelo in Florence and Rome they also saw and um were promoting the use of oil on canvas and easel painting which transformed Venetian Art and in due course the whole of European art now vereni was called vereni because he was born in Verona he was the fifth child of a stone cutter and as children were often named after their father's profession he was called Pao SP AA which means stone cutter he later changed his name to Paulo ceri um because his mother was the illegitimate daughter of a nobleman called Antonio kalari he trained as a stone cutter but his aptitude for painting was noticed and he switched careers and became an apprentice to an aesi artist Antonio Bay and vereni was later to marry his master's daughter Elena but that was sometime later in 1566 now after only a few years years with Bay he switched to another leading painter in Verona Koto possibly because it exceeded the ability of bay to teach him anymore he received Commissions in Verona and traviso and by 1552 he was well enough known to be given a commission to paint an alterpiece for manua Cathedral and then in 1553 age 25 he received a state commission to paint a ceiling in the dois palace a very prestigious commission so he moved there and from then on he rely left Venice he became tian's prote and tishan often used him in his rivalry with Tinto this is one of veren's earliest known work the conversion of Mary Magdalene painted in 1548 when he was just 20 this is before he moved to Venice and it demonstrates even the young veroni had this precocious talent and it already shows the gr style he would develop in his maturity in fact it more than hints it is his mature style he'd already developed this style at an early age what it's showing is the moment where Mary Magdalene inspired by Christ's preaching renounces her worldly possessions and V has set the scene in this Sumptuous Venetian interior with Mary Magdalene dressed in the height of 16th century Venetian fashion and even at this early stage you can see his skill with color the rich fabrics and jewels the great attention to detail his ability to create a sense of depth and space through the use of these architectural elements um one interesting fact about this particular painting is that it was originally attributed to Tish it was only in the 20th century that art historians conclusively identified it as an early work by veren ay and I think that demonstrates the difficulty sometimes of distinguishing between the word works of tishan vereni and to some extent Tinto note the way that um he's arranged the heads so they form a sort of vshape leading down to Mary Magdalene and we also know from technical analysis of the painting that he made changes to the composition as he was painting it for example the position of Mary magdalene's arms showing that he was very careful in considering the pose and the gestures even at this early stage of his career in 1552 he received as as I mentioned an important commission from Cardinal Gonzaga for an aop piece in Manu Cathedral and this is the work the temptation of St Anthony and it marked a ific step in his career it was one of the first major commissions outside of Verona what it shows is it's a popular subject St Anthony's Temptation in the desert and verene's interpretation is notable for its Dynamic composition and Vivid use of color and during this time in manura Veri was able to study the a number of works of art including the ceiling Fresco by Julio Romano which would influence his later work particularly his ceiling decorations and he painted this in situ at manua Cathedral showing his ability to work on a large scale project at the location itself which would serve him well when um he was asked to um received a commission for from Venice this one in 1553 his first state commission and it was the ceiling of the Hall of the Council of 10 in the dois palace it's called Jupiter hurling thunderbolts at the vices and it was a significant milestone in his career because it was this work that established him as a major talent in Venice it demonstrates his um skill at um foreshortening and showing figures which appear to float above us his use of color is noteworthy the vibrant Hues the Luminous quality even in the shadows and this would become a characteristic of his mature style the Luminosity that he acquired or he was able to create in the shadows and it was this Mastery of color that set him apart from his contemporaries very early on and contributed to his rapid rise in venice's artistic circles now it was this work that brought him to the attention of tishan and for actually for another work in in the marciana library he was awarded a prize which was judged by tishan and sovino and it was these works that established him as a master painter and from then on he became a a sort of prodige of tishan personally if you look at verene's life it could be seen to be um a what's the right word a boring life maybe he married in his 20s he had children uh he traveled little he was a Dev Catholic although it needs to be said his religious paintings often included playful incidents and large social Gatherings he was very professional as an artist uh he ran a large Workshop he employed family members he ran it successfully without incident and he would adapt his style to suit his Patron's need the this is the supper at OS 1559 a masterpiece from his early years commissioned by the refractory of the monastery of s Sisto in triso and it shows how his reputation was growing out Beyond Venice it depicts the moment when Christ reveals himself to two of his disciples at deos but you can see here that Veronia has taken a different approach to some artists um instead of a small number of people alone in a room he's transformed this into a grand social event sort of set in the semi outside there's a magnificent architectural space to show his skill at perspective and illusionistic effects and there's a whole crowd of people but um he shows his masterful ability to balance numerous figures with the architectural elements to create this sense of depth and Grandeur it um is interesting that it includes portraits of contemporary Venetian figur something that um many artists would do uh here it's we believe it's members of the Barbaro family they were important patrons um of uh Veri it was the the painting The reason it's in the Lou is the painting was taken to Paris in 1797 as part of Napoleon's um art seizures and it's remained there ever since the painting has been restored recently revealing his vibrant colors which have become dull like many of his works or or many artist Works centuries dull the varnish and the restoration can bring them back to life and this restoration has allowed viewers to appreciate the full Brilliance of his pallet a very large painting nearly 10 m wide one of his most famous and ambitious works the wedding at Cara 1563 it was commissioned by Benedictine monks of St Georgio maiori in Venice for their refractory and it depicts the story of how Jesus turned water into wine at a wedding Festival but vonos has transformed it into a grand Venetian Banquet set in magnificent architectural surroundings that reflect the splendor of 16th Century Venice there's over 130 figures and he's included portraits of many contemporary Venetian figures he's also included tishan Tinto and even himself he's showing himself playing music in the foreground incidentally this is another painting in the Lou and in order to transport it back to Paris Napoleon's troops uh cut it into sections in 1797 and it was reassembled in Paris but some damage from this process is still visible and it was never returned which is why it still remains in the Lou and last Point notice from the the colors one of the reasons is that he used the highest quality pigments including the expensive lapis lauli for the blues a very expensive pigment that came from Afghanistan and um weight for weight cost more than gold but it's that use of lapis lazuli that contributes to the enduring vibrant colors of the work this is another version a smaller version of um the same uh event the marriage at Kaa painted in 1566 or between 1566 and 67 this version was privately commissioned by the co China family for their palace inv Venice The Palazo papadu the painting is showing the same wedding Feast where water was turned into wine but he's transformed it in this case into a setting reflecting the Splendor of 16th Century Venice and he's showing it at the point where the guests are just beginning to taste the wine in amazement the wine is brought to the table and they're looking at it and just beginning taste it you can see ver veren is master of complex compositions the the crowds of people are carefully balanced the use of color is particularly noteworthy and he's included in this painting portraits of the cuchina family members who commission the work they're in the foreground dressed in their finest attire and so he's um uh satisfying his painon requirement to be part of this biblical scene as often is the case there are many elements are anachronistic because it's it's Venetian architecture contemporary costumes uh this is a common practice that um I've mentioned before and again in this painting he was also um paid to use um the expensive pigment lapis lauli now ver ay had been involved with this fellow Daniel Barbaro and his brother marcantonio Barbaro decorating the Villa Barbaro which padio had designed and so Danielle commissioned works from veroni like this portrait now Barbaro was aadia patriarch which was a prestigious and ancient title and he's shown here dressed as a bishop from 1561 he was also a cardinal but the appointment was what's known as pector T that is it's not to be made P made public so what he's doing here is he's dressed as a bishop but he's sitting in the audience posture which is a posture that's normally reserved for popes and Cardinals and so he's hinting at the fact that he is a cardinal but isn't allowed to officially mention it instantly the book standing up is LA practica perspectiva um his Treatise on artistic perspective and the the work on the table that he's holding is his commentary on vitus's De architectura which is um illustrated by Andrea padio the um just for comparison purposes before I move on this is tian's portray of the same man but it was painted about 20 years before so in veres he's the um barro is 20 years older but you can um and also the reproduction that I'm using here is slightly better quality in the veroni but it's interesting to compare the um the way they're positioned and the lighting and the similarities between the two artists as I I've said before tishan was regarding as the master of portraiture and the one who had set the standard and the style of producing portraits this is his the family of Darius before Alexander in the National Gallery London commissioned by the pisan Pani family for their Villa at montanana and it shows his growing reput ation amongst Venetian nobility it's it's it's illustrating a scene from ancient history Alexander the Great is meeting the family of the defeated Persian king Darius and in fact here verinas has transformed this historical event into a grand Venetian spectacle as he typically does and they're all dressed in Sumptuous 16th century Venetian costumes but the story is that the mother of the defeated King Darius which you can see here in blue kneeling she mistook Alexander's friend aasian for Alexander and The Moments remembered as rather than being punished by Alexander he forgave them and Veria is showing the moment when Alexander in red steps forward to show himself and with his left hand is pointing at um heason the person they mistook for Alexander but Veri uses it to show his ability to create a painting with complex multiple figures masterfully balanced against a um 16th century architectural elements creating this sense of depth and Grandeur rich with vibrant Hues the um there were a number of Port portraits of aras's contemporaries including as often the case a self-portrait it's the man on the far left in the yellow robe is a self-portrait now this painting was so admired it was a IR ired by King Charles I of England in 1627 and it remained in the country and became one of the founding works of the National Gallery in London so that's how it um arrived in London there were again significant changes we know from x-ray analysis to the composition while he was painting at demonstrating again his meticulous approach to creating these large scale works and balancing the figures and getting the gestures exactly right this is allegory of um navigation with cross staff aoas it's part of a series of allegorical paintings that he created for the Doge's Palace the Hall of four doors now avaro is An Andalusian 12th century polymath and he's shown holding a cross staff which is an instrument used in Celestial navigation and this is part of a larger program celebrating venice's Maritime power and their scientific knowledge and Veri is showing his skill and in creating this illusionistic ceiling decoration the figure of aaro seems to float above the viewer demonstrating his Mastery of foreshortening now aaro was a Muslim scholar and this shows that in a Christian context in Venice at the time it was a very um cosm Cosmopolitan um atmosphere and it was open to diverse intellectual traditions and this the inclusion of scientific instruments reflect the growing importance of empirical observation and measurement in the Renaissance particularly relevant to venice's Maritime Empire although um what maybe let me just explain the cross staff sometimes called Jacob staff was used to measure angles such as the height of a star or the sun above the Horizon and that enabled a ship out of sight of sha to find its latitude and the cross staff would have bars that you could slide up and down to measure the angle and the long staff on which they slid was graduated but here veroni doesn't seem the way I look at it to be showing cross stars that are able to slide up and down he's instead presenting it as what's called um a patriarchal a Christian patriarchal cross this was painted around 1570 and it's Mars and Venus United by love it was commissioned by Emperor rudo Rudolph II a great patron of the Arts particularly interested in allegorical and mythological subjects and what we see is the God of War Mars the goddess of love Venus and they're United you can see bottom left by a cupid that's tying their legs together and veras transformed this classical myth into a sensuous scene of love and harmony he's included as you could see in the background architectural elements there are a number of symbolic elements as well there's um a um armor you can see the armor held hel up or sword held up by a cupid and the armor that he's discarding symbolizes the Triumph of love over War the technical analysis shows the way that Veri achieved this luminous quality in the flesh tones something he was particularly noted for it was done by a complex layering technique thin uh washes thin layers of paint created this uh depth which which gave the flesh tones a luminous quality he actually uh Rudolph II commissioned three works from veroni and the other two are in the frick collection in New York it's um the way this arrived at the Met Metropolitan Museum of Art in New York is a long complex story there was something like 26 well documented owners over the centuries including Ferdinand II and third Christina queen of Sweden there was a cardinal in Rome uh the Philipe Juke Doon in Paris and then a jke of Bridgewater in London until it was finally in 1910 it was bought by the Museum of Modern Art in New York the Adoration of the Kings 1573 the Three Kings or Magi have come to visit infant Christ child in the stable bringing Gifts of gold Franken frankincense and my and what veroni shows is that the state is attached to the ruins of what looks like a great classical building with triumphal arches in the background there's Angels appearing in the sky there's a strong diagonal ray of light falling down Illuminating the Christ child and um the Virgin Mary and Christ child is placed where the architecture and the diagonal intersect it was painted for the Church of San sylvestro in Venice it wasn't an alterpiece it's a large painting for the wall of the Nave beside the Altar and it was 1573 he painted it and it was by then he was at the very height of his career and he'd been living in Venice for two decades he had married a few years before in 1565 um Elena El the daughter of his former Master he was running a successful workshop with his brother benedetto and he'd already completed many major commissions the Magi you can see are lavishly dressed and again the colors of the Mage Eyes costume is a typical verinas and he includes again there's a self portrait in this he's one of the attendants at the back he's the one on the left with the beard looking directly out at us and the another interesting addition is the dog on the right in the foreground uh it was believe it's believed to be it's um a portrait of veren's pet dog now we come to the controversial painting now called the feast in the house of Levi it's one of his most famous works it was commissioned as a last supper and it was commissioned for the refractory of the Dominican Basilica of Santi Giovani e Pao in Venice and it's a massive canvas over 12 M wide and it became the center of a controversy a dispute with the Inquisition shortly after he had completed it he was summoned before the Inquisition to explain why he had included what they thought were irreverent details now it was 10 years since he' painted the wedding at Kaa and a lot of change since then the specifically the Council of Trent 1545 to 63 now called the beginning of the Counter Reformation gave the Roman Catholic Church a new legal Authority and a new remit to examine and interpret paintings for signs of heresy the full text of the interrogation is actually available online but let me read you just a short section The Inquisitor asked does it seem suitable to you in the Last Supper of Our Lord to represent buffoons drunken Germans dwarves and other such absurdities and Veri replied certainly not and The Inquisitor then asked then why have you done it and Veri said I did it on the supposition that those people were outside the room in which the supper was taking place a sort of um a technical point that he was trying to use to justify the inclusion but um it didn't work The Inquisitor immediately said do you not know that in Germany and other countries Infested by heresy it is Habitual by means of pictures full of absurdities to vilify and turn to ridicule the things of the Holy Catholic Church in in order to teach false Doctrine to ignorant people who have no common sense well I think it was clear at this point that veroni was getting into deep trouble he did go on Bravely to try and justify his inclusions by referring to um things like the naked figures including the virgin Mary and Michelangelo's last judgment in the cine Chapel but these were regarded as irrelevant the the the point is was this painting and his explanations were not acceptable and at by the end veroni must have expected at least to be tortured or possibly even executed but he was surprised to be told he had three months to change the painting now instead of repainting it he cleverly renamed it to its current title the feast in the house of Levi a feast referred to in Luke 5 27-29 um and by that means he um wasn't representing the last supper at all and the painting became acceptable so it was it was accepted nothing further was done and despite its controversial Beginnings it has remained in Venice it's in the gallery Del Academia and it survived Napoleon's art seizures and is still there in Venice uh these aren't these are in the National Gallery in London it's the four scenes are known as the allegory of love it's um commissioned by Emperor Rudolph II again and it shows very A's Mastery of allegoric allegorical subjects it was a highly popular uh genre of painting for the elite patrons it was originally part of a ceiling decoration which explains this Square format it was um and and the slightly upward looking perspective of the figures and in fact in the National Gallery the four were hung in the high up in the corners of the room they tell various aspects of Love top left infidelity the the do there's been various um theories about the exact interpretation of these paintings but the dominant theory of this painting is that it represents a classical love triangle note the secret letter being passed between the man on the left and the nude woman then on the right score we see Cupid mercilessly beating up a prostrate man while two women look on with their hands clasped now this is a bit harder to interpret but the one in the state of undress is probably carnal love and the other fully dressed is carrying an her which is um an animal used to represent chastity so this may be interpreted as an illustration of how love is split between desire and devotion bottom left respect is and again the dominant interpretation here is that the the man wearing armor is T being tempted by Cupid but withdraws from the sleeping new in respect to her and then the happy Union a couple of United at the hands of um a semi Cloud woman and they're being assisted by a boy and the two are possibly representing Venus and Cupid although there aren't really any traits that would identify them the union between the couple is marked by the fact that they're both holding a laurel wreath which signifies virtue and an olive branch symbolizing peace the gold chain that is being wielded by the boy is probably refers to marriage and the dog is a symbol of fidelity this is a mythological scene of Perseus reaching Andromeda in order to save her it was a very and remained a popular subject for artists into the 19th century let me show you tian's version this is tian's interpretation of the subject and maybe this um inspired veroni there are similarities Tisha conveys the dramatic intensity and a terror stricken Andromeda as the monster draws nearer but very easy I think hints at a happy ending now andrometer is shown by Veronia as helpless but she looks at the Beast and seems to be looking confidently I guess um assured by Perseus sword which is just about to kill the monster I think the acid tones of orange and the color of andromeda's carefully placed um cloak was picked up by the artist Theo theophil gotier in 1860 when he wrote Veri was the greatest colorist whoever lived greater than tishan rubben or rbrand because he established the harmony of natural tones in place of the modeling in dark and light that remained the method of academic kiaro skuro that is light and dark and and dequa made a similar point he wrote Veri made light without violent contrast which we are always told is impossible and maintain the strength of hue in Shadow so in fact they're they're both commenting on how he's achieved this effect of um contrast of light and dark while still retaining the power of these luminous colors instantly the story what's going on here is that Perseus was a Greek hero son of Zeus he was returning from a quest to SL play Medusa which he accomplished successfully when he came across Andromeda an Ethiopian princess who he saw changed to chained to a rock by the Sea and that was because andromeda's mother Queen copia had boasted that her daughter was more beautiful than the nads the cimps and this angered Poseidon the god of the sea and his punishment he sent a sea monster cus to terrorize the coast and in order to appease Poseidon and save their Kingdom andromeda's parents were forced to sacrifice her to the monster and so they tied her or had her tied to this rock so that she could be devoured by the monster but persus as I said happened to be flying by he saw her immediately fell in love with her made to deal with her parents if he could save her he would marry her and he then in mythology he used Medusa's severed head to turn the monster to Stone but here verin is interpreting it a bit differently he's using a sword to slay the monster and after saving her he married her and took her back to Greece where they had several children which um allegedly became the ancestors of a a dynasty of my Deni another mythological painting painted in 1578 the r the rape of Europa uh one of his most famous mythological paintings in the Doge's Palace where it still is today and what he's showing is this story of how Jupiter uh who had turned himself into a gentle white B full abducted Europa the story comes from oid's metamorphosis and Europa is um seduced by the gentleness of the bull and is persuaded to sit side saddle on the back of the bull and you can see her sitting on the or just being lifted by her assistance onto the bull and the bull you can see is uh gently um caressing her foot but you can also see in the same painting if you look to the right it's the story is presented in stages you can see her traveling down the hill on the back of the bull still looking happy but look she's being taken out to see by the bull and is looking distraught and waving anxiously to her two um assistants who are left behind and then finally you can see her being taken away into the far distance to uh cre where later she um arrived married the king of creit and he made her queen of creit it was actually one of her sons son Minos who founded the allegedly founded the town of kosas and gave his name to the minoan civilization and Euro Europa of course gave her name to Europe that there is actually um another vers well there are several versions of verene's rope of rape of Europa one of them is a smaller painting this one at the National Gallery in London it's um dated 1570 and so it could be a preliminary sketch for the larger painting although the the figures are of course reversed it's got an interesting history because it was once considered fraudulent it was so dark that the varnish had so darkened that um it obscured the painting almost completely and it was regarded as um a copy once it had been cleaned it was clear that it was a work by vereni and it was declared to be a work by ver in 1999 this is lucre lucrea painted in the 1580s now in the 1570s I should mention a plague killed a third of the population of Venice including tishan in the aftermath ver painted some of his finest work um but it was been pointed out that quote it's as if night falls in every single canvas from that point on and this is one of his most startling paintings it's a scene of suicide let me um first compare it with um a work by Tinto you can see here this is a good way of comparing the two artists because tento was typically his Works were full of um energy and dynamism and that was typical of his style whereas veren's you see is a much more um uh gentle style even though this is a scene of suicide and it I should point out it the classical story is that she was raped by the son of the king of Rome this story is described by the way in Livy's History of Rome the next day she revealed what had happened to her father and husband and she stabbed herself through the the heart rather than live with the shame and the story has inspired many artists ever since there's a long poem by Shakespeare on um the rape of lucrecia and an opera by Britain you can see that here Veri is using darker colors her gown is dark green which he uses to offset the Luminous quality of her skin she appears like many of his heroins to glow from within but her face is sickly her eyes are downcast She's suffering a private moment of deep anguish and if you look very carefully you can make out there's a slight trickle of red on the dagger she has in fact already stabbed herself and the blood is draining from her body this is another subject from ID's Metamorphoses it's um Venus and adonus here veroni is showing Adonis still asleep in Venus's lap now Venus fell in love with Adonis after being accidentally shot by one of Cupid's arrows and in front of her you can see Cupid with a hound and what he's doing cupid is trying to stop the dog's desire to go out hunting because Venus has foreseen the death of adonus that day and she's shown calling I think adonus what what she's it it looks like a little flag but what she's carrying what she's using is the Forerunner of a fan which she's using to cool him the story ends badly because what happens is that he wakes up and she can't prevent him from going hunting that day he fires an arrow at a boore which isn't killed it turns on him and kills him Venus who's up in the sky at that point rushes down and reaches him just in time to embrace him before he dies and promises that from his blood a flower will spring and the flower is the enemy which is a beautiful but short-lived flower just like adonus this is the Triumph of Venice completed in 1585 one of his last major works and and a crowning achievement of his career it's a ceiling painting created for the Hall of the great Council in the dois palace and it's an allegorical representation of the power of Venice and its glory and in the center the um the the top Center is Venice personified as a crowned woman or just being crowned she's looking up to uh Glory who's offering her a crown and she's sitting between two great Towers the representing the entrance to the sh City's Shipyard the arsenale she's surrounded by figures representing uh Victory Fame honor peace and many other virtues and then below her there are a whole collection of Venetian Society separated into different different social classes there are um Cardinals uh there are um soldiers down below at the bottom all creating this um realm that pays homage to Venice and of course it um illustrates verene's unparalleled skill at creating these Grand illusionistic ceiling decorations it's a a tour def force of foreshortening and perspective it actually was commissioned to replace an earlier work that was destroyed in a fire of 1577 it's um a very large painting it's over 9 M tall and to produce it what he did is he worked on it in sections in his studio and assembled it in situ um a testament to his organizational skills and he to his Workshop so coming towards the end my three talks have been about rivalry and the career of three of venice's greatest painters whom I've chosen to uh talk about separately tishan Tinto and veroni all three were brilliant ambitious fiercely competitive tishan is known for his Mastery of color and sensuous style although later he developed a looser more expressive brush work he excelled in portraiture and of course he also painted Many religious scenes and mythological subjects tin tetto is name known for his dramatic compositions bold use of perspective energetic uh settings turbulent scenes strong contrasts and had a technique which earned him the name IL Furioso verin ay is renowned for his Grand theatrical compositions elaborate architectural settings masterful use of color and a bright luminous palette and he specialized in large scale religious and mythological scenes in summary tian's work was evolved over time became more expressive Tinto was more dramatic and intense and veroni was more opulent uh had many decorative elements and many complex compositions so verony as a person was restrained flexible professional a supreme C IST he developed a naturalist style of painting influenced by tishan and his biographer wrote about him that he gave rain to Joy made Beauty Majestic made laughter itself more festive I think a good description of his work he died in 1588 when he was 60 he died of pneumonia which he caught during a religious procession near his country estate at San Angelo and that brings me to the end of today's talk and in fact the TR Trilogy of talks about um tishan tineta and veroni so thank you for your time and attention and I hope you will continue to watch my series of talks on the history of Western Art thank you and goodbye for now