Paolo Veronese (or Paolo Cagliari), a very noted Italian painter who belonged to the Venetian school of the 16th century, was a native of Verona, whence his surname. He was born, according to Ridolti, in 1532; though others say in 1528. His father was a sculptor, and afforded the boy all the art-training that he seemed so much to seek after. AVhen quite A'oung he moved to Venice, where he soon developed talents which placed him on an equality with Titian. As color- ists the two men differ considerably. Titian's colors are strong and bright, Veronese's are toned down, less gor- geous, more delicate. Paolo was eminently successful in a certain style of painting, and adhered to it through a long and active life. Most of his pictures represent scenes in the life of Christ, in which the personages appear in Venetian costumes of the 10th century, and in which are introduced portraits of contemporaries. It is useless to criticise sucli a phase of art, or to approach it with the same laws with which we judge pure artistic conception. Veronese's art is ornamentation carried to its highest perfection, but neither admitting nor asking comparison with the art of the Florentine or Roman schools. His pictures all present the same qualities of oxcpiisite grace and relincmcnl, full of what modern ar- tists call "style." The mind never tires of these paint- ings, but rests upon tlicm with pleasure and content. No great effort is necessary to enjo}' them ; they leave a pleasurable sensation, as if we too had been enjoying the culture and luxuries of Venetian life. His best works are his four great paintings in the Venetian churches. The first was painted for the refectory of S. (iiorgio Maggiore, and is now in the Louvre at Paris, The subject is The Marriage at Cana ; it is over twen- ty-five feet wide, and contains an immense number of figures, many of which are portraits. It is said that he received only ninety ducats for this immense work, which is accounted for by the fact that he never ac- cepted more remuneration from the convents than the
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expense of his materials. The second, painted in 1570 for S. Sebastino, represents The Feast of Simon, with Magdalene washing the feet of Christ. The tliird, exe- cuted for SS. Giovanni and Paolo, is The Saviour at Supper with his Disciples. The fourth (which is per- haps his masterpiece) is the same subject as the second, but quite differently treated ; it was painted for the re- fectory of the Padri Servi, and in I6G0 was presented by the republic to Louis XIV. There are a few masterly etchings marked " P. C." and " P. A. cal.," which^re at- tributed to Paolo, among which are The Adoration of the Ma(ji, " Paolo Veronese fee. ;" and Two Saints Sleepinr/ (no mark). See Spooner, Biof/. Ilist. of the Fine A rts, i, 150; Kuskin, Modern Painters; Rudolti, Vita di P. Cagliari (1048); Lecarpentier, Notice sur P. C<i;iliuri (181G) ; Zabeo, Klorjio di P. Cayliari (1813). (J. H. W.)
Pap (T^, shad, Ezek. xxiii, 21 ; " teat," Isa. xxii, 12; fxaaroQ, Luke xi, 27; xxiii, 29; Rev. i, 13), the breast fas the Hebrew word is elsewhere rendered), especially of a female.
Papa (Uamrac), a name originall}'^ given to the bishops of the Christian Church, is now the pretended prerogative and sole privilege of the pope, or bishop of Rome. The word signifies no more t\\w[\ father. Ter- tuUian, speaking indefinitelj' of any Christian bishop who absolves penitents, gives him the name of Eene- diclus Papa. Heraclas, bishop of Alexandria, has the same title given him. Jerome gives the title of Pojm to Athanasius, Epiphanius, and Paulinus ; and, writing often to Augustine, he always inscribes his epistles Beatissimo Papce Augustino. The name Papa was sometimes given to the inferior clergy, who were called Papce Pisinni, that is, little fathers ; in com- parison with whom Balsamon calls presbyters Proto- papw, i. e. chief fathers. The Greek Christians have continued to give the name Papa to their priests. There is at Messina, in Sicilj'', an ecclesiastical dig- nitary styled Protopapa, who, besides a jurisdiction over several churches, has a particular reverence paid him by the cathedral ; for upon Whitsunday the preb- endaries go in procession to the Protopapa's church (called the Catholic), and attend him to the cathedral, where he sings solemn vespers, according to the Greek ritual, and is afterwards waited upon back to his own church with the same pompous respect. As a title, the word papa appears to have first been used by bishop Siricius in the 4th century ; its use became more fre- quent in the course of the 5th centurv, and since the 7th century it disappears for all ecclesiastical officers except the bishop of Rome ; and Gregory VII expressly claimed it as an exclusive prerogative of the Roman see. See Pope.
Papa, Simone (1), called Tl Vecchin (the elder), an Italian painter, was born about 1430 at Naples. He studied under Antonio Solario, called II Zingara, whose works wore then held in high estimation. He excelled in painting altar-pieces with few figures, grouped in a pleasing stj'le and finished with exqui- site care, in which he sometimes equalled Zingara him- self. His chief works are the Triumph of St. Michael over the Apostate Spirits, in the church of S. Maria Nuova— his greatest efl'ort; The Annunciation, in S. Niccolo alia Dogana ; The Virgin and Infant Saviour, with several Saints, in St. Lorenzo. Papa died in 1488. See Spooner, Biog. Hist, of the Fine A7-is, ii, G51.