FIG. 2. RETROGRADE VERNIER SHOWING METHOD OF scale divisions to be degrees, then the reading sponding number on the scale are called retrograde or reverse verniers. But some instruments are provided with direct verniers, that is, those in which the number of divisions exceeds the corresponding number on the scale. The principle of operation is the same as in the retro FIG. 4. DIRECT VERNIER SHOWING METHod of reading. verniers, only the vernier division is greater by a tenth of a scale division instead of being smaller. Fig. 4 shows a direct vernier where the coincidence comes at 3 giving a reading of 5.3. In general, if v is the length of a vernier division, 8 the length of a scale part, and n the number of divisions on the vernier, then nv = (n-1)s for the direct vernier and nv = (n+1)s for the reverse vernier. 1 1 Therefore s — v = 8, v8 = .s respective ly, which shows the comparative size of the divisions of the two scales and to what fraction of a division any vernier will read. E.g. we wish a direct vernier, attached to a scale graduated to read half degrees, to read minutes, what must be the relation between a vernier and a scale division? Here s 30', and, since the vernier is n n equal to 29 scale divisions is to be subdivided on the vernier into 30 equal parts. Of the various methods for subdivision which were in use before the introduction of the vernier, the most important were the diagonal scale (q.v.) and the nonius. The latter is so called from its inventor, Petrus Nonius (Pedro Nuñez), a Portuguese mathematician (1492-1577), who described it in a treatise De Crepusculis Liber Unus (Lisbon, 1542). It consists of 45 concen tric circles described on the limb, and divided right angles. The outermost of these quadrants into quadrants by two diameters intersecting at was divided into 90, the next into 89, the third into 88, etc., and the last into 46 equal parts, giving, on the whole, a quadrantal division into 2532 separate and unequal parts (amounting on the bar which carried the sights passed, when an average to about 2' intervals). The edge of produced, through the centre, and served as an index-limb; and whichever of the 45 circles it angle read; for instance, if it cut the seventh crossed at a graduation, on that circle was the circle from the outside as its forty-third gradu ation, the angle was read as #3 of 90°, or 46° 4′ 174". Consult Ludlow, "Subscales, Including Verniers," in Van Nostrand's Engineering Maga zine (1882). VERNIER, vâr'nya', PIERRE (1580-1637). A French geometer, born at Ornans, in Burgundy. His father was a mathematician and directorgeneral of currency to the Count de Bourgogne. Vernier was commandant of the castle in his native town and director of the mint. His chief work was La construction, l'usage et les propriétés du quadrant nouveau de mathématiques (1631), which contains the description of the instrument bearing his name. See VERNIER. VERʼNON, DIANA. A beautiful and talented girl in Scott's Rob Roy, whose peculiar education has trained her to vie with men in their sports. She is loved by all the Osbaldistones, including the villainous Rashleigh. The latter threatens to expose her father's plot if she will not marry him, but is killed by Rob Roy, and she is happily married to Frank Osbaldistone. VERNON, EDWARD (1684-1757). An English admiral. He was born in Westminster; was educated at Westminster School, and in 1700 entered the navy, and saw much active service during the War of the Spanish Succession. In 1722 he was returned to Parliament. In 1739, as commander of six ships, and with the rank of vice-admiral, he captured Porto Bello, with a loss of only seven men. Owing to the inefficiency of the military support, he was repulsed from Cartagena in 1741, and lost heavily by sickness. This action has been described in Roderick Random by Smollett, who was serving in the expedition as assistant Lawrence, the eldest brother of George surgeon. Washington, was also a member of the expedi tion, and his estate Mount Vernon was named in honor of the admiral. Vernon returned to England in 1742; was several times reëlected to Parliament; in 1745 was promoted to be admiral, and during the expected invasion by the Pretender commanded on the Kent and Sussex coasts. For criticising the Admiralty in two pamphlets, he was removed from his command in 1746, but continued a member of Parliament until his death. VERNON GALLERY. A collection of English paintings, formerly the property of Robert Vernon, now forming part of the National Gallery, London, to which it was given in 1847. VER/NON-HAR'COURT, SIR WILLIAM GEORGE GRANVILLE VENABLES. An English statesman. See HARCOURT, SIR WILLIAM. VERONA, vâ-rō'nå. A city of Italy, the capital of the Province of Verona, 71 miles by rail west of Venice (Map: Italy, F 2). The swift Adige traverses the city in a zigzag. It is crossed by seven bridges. Verona is a fortress of the first class and holds the key to the Tyrol. It is, with the exception of Venice, the most famous and attractive city of Venetia, and is both prosperous and progressive. Its numerous weather-stained white marble palaces, richly sculptured, with evidences of having been painted, and often standing below the grade of the modern streets, give it an air of sumptuous decay, which effect is offset, however, by the abundant signs of its modern thrift. Its walls are pierced by several handsome gates. By far the larger part of the town is on the right bank of the Adige, where, in the centre, on the large and impressive Piazza Vittorio Emanuele, rises the celebrated Roman amphitheatre. This splendid, well-preserved ruin, dating from the reign of Diocletian, is 168 yards long and 106 feet high, and could accommodate over 20,000 persons. It is still used. On the Piazza and in the immediate vicinity are to be seen the Municipio; fragments of the old Roman wall; an ancient Franciscan monastery, now closed, but containing the mediocre sarcophagus known to disillusioned sight-seers as the tomb of Juliet; and the Museo Lapidario, with classic inscriptions and antique marbles. From the Piazza extends southward the spacious and splendid Corso of the same name, and to the southeast stretches the likewise spacious Via Pallone-the latter reaching the river where, on the opposite side, lies the cemetery. The Piazza is connected with the important Piazza del Erbe, on the northeast, by the busy Via Nuova Lastricata and Via Nuova, which together form the busiest thoroughfare of the city, especially at night. In the vicinity is the marble tablet marking the portal of an old and uninspiring house locally said to have been Juliet's home. A high tower affording a fine view of city and country, a very ancient fountain bearing the statue of Verona, a marble column surmounted by the Venetian Lion of Saint Mark, and proud palaces with frescoed façades, here add interest to the bustling scene. Adjacent on the northeast is the Piazza dei Signori, beautified by archways (with portraits) which span the entrances. It is surrounded by palaces dating from the time of the Scaligers, and contains the famous statue of Dante by Zannoni. Of these palaces the Loggia, or Palazzo del Consiglio, is the most conspicuous. The superb structure in early Renaissance was a creation of Fra Giocondo (1500), and is adorned with statues of the ancient Romans who were born in Verona-among them Catullus, Cornelius Nepos, Pliny the Younger, and Vitruvius. Near by is the far VOL. XVII.-20. famed tomb of the Scaligers, rising in a small paved square. The grave Gothic outlines of the monument appear behind lofty railings in which are to be seen recurring ladders-the family Farther north, and in the extreme emblem. bend of the Adige, stands the uninteresting Gothic cathedral. It contains, however, a fine "Assumption" by Titian. Northwest of the Roman Amphitheatre, and on the river bank, stands the battlemented Castel Vecchio (1355), from which a venerable pinnacled bridge stretches to the northern shore. Hence, to the northeast, extends the spacious and imposing Corso Cavour, bordered by fine palaces. It is a prominent thoroughfare. It leads northeast toward the Porta de' Borsari-a triumphal arch constructed A.D. 265. On the southwest it connects, near the Castel Vecchio, with the broad fine street leading southwest to the attractive Porta del Palio. In the extreme western corner of the city, and near the river, rises the Church of San Zeno Maggiore, dating from 1139. It ranks among the finest Romanesque churches in Italy, and is notable for its symmetries. It contains a valued painting by Mantegna, and the fine bronze tomb of the saint. By the Ponte Navi, on the opposite side of the city, stands the medieval Church of San Fermo Maggiore, with a striking façade. The narrow, curving, and extended section of the city on the left bank, with the cemetery on the south, is called Veronetta. The municipal museum and the picture gallery are situated here by the Ponte Navi, in the majestic Palazzo Pompei, overlooking the river. The edifice was constructed by Sammicheli and now belongs to the city. The paintings are nearly all of the Veronese school. Farther north looms the commanding Castel San Pietro, where, a fortress of Theodoric the Great stood. It is now used as barracks. the ancient Church of Santo Stefano, restored by Theodoric, and the San Giorgio in Braida are near. Verona has a royal seminary, an industrial school, and a deaf and dumb institution. The Biblioteca Capitolare contains valuable palimpsests, among them the Institutes of Gaius. The municipal library was established in 1860. The city is provided with numerous hospitals, including a military hospital, an asylum for the aged, and one for paupers and beggars, public dormitories, and three associations for taking care of poor children. There are cotton, paper, and flour mills, an immense nail factory, and piano and organ factories. Silks, soap, sugar, and candles are also manufactured. There are besides the new arsenal and extensive artillery establishments. Verona is important in the Italian traffic with Switzerland, Austria, and Germany. It deals in wines, fruits, rice, and marble. At the head of the municipal government is a syndic. The population in 1901 was 74,271. Verona was conspicuous in its architecture already in mediæval times, and with the Renaissance came Fra Giocondo and its military architect Sammicheli. Verona had an early and distinct school of painting, which, like that of Venice, excelled in coloring. The great master Paul Veronese came from here. Verona also contributed worthily to sculpture. HISTORY. Verona was anciently a Rhætian town. From the Celts it passed under Roman rule as a colony in B.C. 89, and was wealthy and important. Theodoric the Great made it a royal seat. It fell to the Lombards, whose King, Alboin, met his death at Verona. From the rule of the Lombards Verona passed under that of the Frankish King Pepin. It was at the head of the Italian cities that resisted the sway of Frederick Barbarossa. It shared in the terrible struggles between Guelph and Ghibelline. It came under the power of the great Ghibelline Scala or Scaliger family in the middle of the thirteenth century, its rulers being called podestàs. This celebrated family made of it a sumptuous and famous city, and their name is inseparably linked with it. Dante found a refuge with Can Grande della Scala after being driven from Florence. Early in the fourteenth century Verona extended its sway and brought Padua and Vicenza under its control, and also Brescia, Parma, and even the distant Lucca. The city's ambitions were, how ever, checked by the alliance of Milan, Florence, and Venice. It became subject to Venice in 1405. It was powerfully fortified by Sammicheli in 1527. It passed to Austria on the extinction of the Venetian Republic in 1797. The Austrians strongly fortified it after 1814, and made it a pivot of their famous Quadrilateral. In the winter of 1822 it was the meeting place of a congress of European monarchs and diplomats which under the guidance of Metternich (q.v.) determined upon the intervention of the Holy Alliance (q.v.) for the suppression of the Spanish Revolution. Verona became a part of the Kingdom of Italy in 1866. Consult: Da Perini, Storia di Verona del 1790 al 1822 (Verona, 1873-85); Wiel, The Story of Verona (London, 1902). VERONESE, vā'rô-nāʼzâ PAUL (properly PAOLO CALIARI or CAGLIARI) (1528-88). A painter of the Veronese school, who became one of the chief masters of the Venetian Renaissance. He was born at Verona, the son of Gabriele Caliari, a sculptor, from whom he learned modeling before taking up painting with Antonio Badile. He was, perhaps, even more influenced by painters of the previous generation, especially by Domenico Bruxacorsi. In 1548 he was summoned, with other Veronese artists, to decorate the Cathedral of Mantua. None of these decorations survive. On his return to Verona he was employed to fresco a room in the Contarini Palace with antique historical subjects, which have recently been uncovered. In 1551 he was charged by the architect Sammichele with the decoration of Villa Soranza, near Castelfranco, and soon afterwards he decorated Villa Emo (now Fanzolo) in the same vicinity. Fragments of the former frescoes are preserved in Castelfranco and in England, but the latter remain in situ, though in a damaged condition. They represent scenes from ancient history, classic myths, and contemporary life. In both of these tasks he was assisted by Battista Zelotti. Veronese's early works are in the silver-gray tone peculiar to Veronese art, and the decoration just mentioned already contained the character istic qualities of his fully developed style. He was summoned to Venice in 1555 by his countryman, the prior of San Sebastiano, from whom he received the commissions which have made this little church a museum of his works. He began (1555) the decoration of the ceiling of the sacristy with the "Coronation of the Virgin" and in the pendentives the "Four Evangelists;" in 1556 he finished the three panels of the ceiling of the nave with subjects from the "Life of Esther;" and in 1558 the altar-piece, a “Madonna in Glory, with Four Saints," and the walls of the church with scenes from the "Life of Saint Sebastian," etc. In 1560 he completed the paintings on the doors of the organ, the "Pool of Bethesda," the "Purification of Mary," and a "Nativity;" he also modeled the ornament of the organ. For several years following he was engaged in other work, and not until 1565 did he complete the splendid paintings of the choir walls, "The Martyrdom of Saint Sebastian" and "Saints Mark and Macellinus Going to Their Execution." Besides these decorations there are some fine altar-pieces by Paolo in the church. In competition with the great Venetian masters he greatly improved his work, both as to color, which became richer and more harmonious, and as to form, which became nobler. In 1556 Veronese visited his native city, where he portrayed Pace Guarienti in full armor (Pinacoteca, Verona), and painted the "Deposition from the Cross" in Santo Maria della Victoria. A second visit in 1566 was the occasion of his marriage to the daughter of his former master, Badile. In 1560 he decorated the villa at Tiene, near Vicenza, with a series of historical frescoes, which are among the most remarkable of his works. Among the best subjects represented are “Cleopatra's Banquet" and "Sophronisba meeting Masinissa.” Veronese's frescoes in San Sebastiano had met with the hearty approval of Titian, who assigned to him an important part of the decoration of the Library (now the Royal Palace), which Sansovino had just completed. His subjects, the allegories of "Music," "Mathematics," and "Fame," treated in the form of episodes, were by general consent pronounced the best in the library. To paintings in the Sala de' Dieci (Ducal Palace); this period (1561-62) also belong his earlier of these "Jupiter Destroying the Giants" is in the Louvre, and "Juno Showering Treasures upon Venice" at Brussels; only an "Old Man with a Young Woman" remains. His principal decora tion in the Sala della Bussola, "Saint Mark with the Lion," is also in the Louvre; but his grand painting of the "Homage of Frederick I.” in the Hall of the Great Council was destroyed in the fire of 1577. About the same time Veronese began his celebrated series of banquet scenes for the refectories of Venetian monasteries, in which the Scriptural subject is a mere pretext for the rendition of a luxurious Venetian feast, in all the splendor of contemporary costume. In the "Marriage of Cana" (1563, Louvre), a colossal picture containing 130 figures, he represented the chief notables of Europe and Venice as the par ticipants. The bridal couple are Francis I. of France and Eleanor of Austria; and as a group of musicians in the foreground he portrayed the principal painters of Venice, Titian, Tintoretto, and himself among them; while on a balustrade in the background curious Venetians watch the spectacle. Another celebrated "Mar |