riage of Cana" is at Dresden (see illustration); a third is at Madrid. The "Feast at the House of Simon" (or Levi) may be seen at the Venice Academy, Paris, Turin, and Milan, the "Supper at Emmaus" at Paris and Dresden. A similar subject, the "Feast of Gregory the Great" (1572), at Vicenza, caused Veronese to be cited before the tribunal of the Inquisition.

Among his patrons and friends were the brothers Barbari: Daniele, Patriarch of Aquileja, and Marcantonio, procurator of San Marco. His portrait of the former is in the Pitti Palace; and for both he decorated the beautiful villa (now Villa Giacomelli) at Maser (1566). The paintings cover three chambers, a gallery, and a salon, and rank with the best and most characteristic productions of the Renaissance. The subjects represented are mostly mythological and symbolical in character-the "Gods of Olympus" as the Planets, the "Muses" and "Virtues;" which, with the portraits of his hosts, himself and his beloved, and even religious subjects, form a strange medley. The architectural and landscape backgrounds are very remarkable.

Veronese was occupied with many decorative tasks which time has not spared; a better fate befell those at Magnadola, near Treviso, which are similar in subject to the Tiene frescoes, but in a freer, grander style. The grandest works of his last period are those executed in the Ducal Palace after the fire of 1577. His only fresco there, "Venice Enthroned," in the Anticollegio, has lost its color, but the "Rape of Europa" is undimmed. In the Sala del Collegio is a splendid "Thanksgiving for Lepanto," in which the Doge kneels before the Lord in Glory, to whom he is recommended by Saints Mark and Justina. The figure of "Faith" is one of the most beautiful in Venetian painting. On the ceiling of this hall, the finest in the Ducal Palace, Venice, attended by "Justice" and "Peace," sits enthroned; the remaining panels contain various allegorical figures. In his battle-pieces in the Hall of the Great Council, the "Defense of Scutari" and the "Capture of Smyrna," he portrayed characteristic episodes of the battles. His most ambitious effort is the splended "Apotheosis of Venice," surrounded by the gods and her heroes, and crowned by the goddess of fame. The pillars supporting her power are upheld by stalwart sailors; and her rule is acclaimed by noble lords and ladies on a balcony, and by the people and soldiers below. Veronese's work in the Ducal Palace was interrupted by his death, April 19, 1588. monks of Saint Sebastian gave him a resting place in their church, which his work had rendered famous. His two sons and his brother, Benedetto (1538-98), continued his commissions under the signature "Herodes Paoli." The most gifted of his sons, Carlo (1570-96), died young. Veronese was essentially a decorative painter, and even in his easel paintings the decorative character predominates. Of these he executed an almost incredible number, considering the extent of his frescoes. The subjects are mostly religious, but in all of them the 'painter of pageants' is evident. Of his numerous madonnas the most remarkable is the "Madonna of the Cuccina Family," a curious, oblong picture, representing the Virgin and saints adored by a family of a dozen members; there is a very beautiful "Holy Fam

The

ily" in the Louvre. Among his most celebrated religious subjects are "Jesus and the Captain of Capernaum" (Dresden), the "Burning of Sodom," and "Esther Before Ahasuerus" (Louvre); an "Annunciation" and the "Raising of Lazarus" (Florence, Uffizi); "Christ bearing the Cross" (Dresden and Louvre); "Susanna in the Bath" (Dresden and Madrid); "Adoration of the Kings" (Dresden, Vienna, Munich, Venice, and Milan); and a fine series of "Prophets" and "Evangelists" in the Venetian Academy. The National Gallery (London) possesses two very fine examples, the "Vision of Saint Helena" and "The Family of Darius" (1563), in which the varied feelings of the monarch's captive daughters are marvelously expressed. Celebrated among his mythological pictures are "Venus and Adonis" (Madrid), "Minerva and Mars" (Berlin), and "Mars and Venus" (Saint Petersburg). His portraits in

Iclude those of "Unknown Women" at Florence

(Pitti), Paris (Louvre), and Munich, and his own portrait in the Uffizi.

Veronese was the true heir of Giorgione and Titian in Venetian art. Although gifted with narrative talent of a high order, he never appealed to the intellect, but to the eye and the imagination. From Verona he brought a sound naturalism, the silvery tone and mild harmony of color. He was a decorative painter of the highest rank. The example of Titian enriched his color and ennobled his forms, but without depriving them of their individual quality. His color is transparent and brilliant in its lightness; he is probably the best all round draughtsman of the Venetian school, and in the sweeping sureness of his brush work he stands almost, if not quite, the peer of Velazquez.

In subject Veronese was characteristically Venetian. He painted the Venetian aristocracy the men preferably in the ease of middle life, the women fair and in richest costume. Especially did he delight in their fêtes, then the most pompous and luxurious in the world, and it is as the great 'painter of pageants' that he is chiefly known.

BIBLIOGRAPHY. The most important biography is that of Yriarte (Paris, 1888). Others are by Janitscheck, in Dohme, Kunst und Künstler Italiens (Leipzig, 1877); Pietro Caliari

(Rome, 1888), and Meissner (Bielefeld, 1897). Consult also Yriarte, Vie d'un patricien de Vénise (Paris, n. d.); Müntz, Histoire de l'art pendant la Renaissance (Paris, 1889-95).

VERON'ICA. The name applied, demonstrably in the thirteenth century (from a mediæval corruption of the Latin vera icon, true image), to a supposed authentic likeness of the features of Christ, said to have been miraculously impressed upon a linen cloth which one of the women of Jerusalem (see Luke xxiii. 27) offered him to wipe his face, as he was carrying his cross toward Calvary, and later transferred to the woman herself as a proper name. The miraculous picture is reported to have been preserved in Rome since the year 700, and its possession has been claimed also by Milan and Jaén. The face has been frequently reproduced, especially by the Spanish painter Morales. Consult: Pearson, Die Fronica (Strassburg, 1887); Von Dobschütz, Christusbilder (Leipzig, 1899).

VERPLANCK', GULIAN CROMMELIN (17861870). An American scholar and essayist, born in New York City. He graduated at Columbia in 1801, studied law, practiced in New York, spent several years in European travel, was active in State politics, and from 1821 to 1825 was professor of the evidences of revealed religion in the General Theological Seminary, New York. He was then a member of Congress (182533), State Senator (1838-41), and vice-chancellor of the State University (1855-70). He was also president of the Board of Emigration (184661). His chief books are: Evidences of Revealed Religion (1824); Essay on the Doctrine of Contracts (1825); Discourses and Addresses on American History, Arts, and Literature (1833); and an edition of Shakespeare's Plays, (3 vols., 1844-46). With Bryant and R. C. Sands, he edited the Talisman (1828-30), an annual. As a critic and a Shakespearean scholar he filled in his day a deservedly high place.

He ap

VERRAZANO, věr'å-tsä'no, GIOVANNI ᎠᎪ (1480?-1527?). A Florentine navigator. Little is known with certainty of his career. The year of his birth is doubtful. He journeyed widely in the East, and in 1521 is reputed to have been sailing as a French corsair under the name of Juan Florentin or Florin, Spanish commerce being his prey. His first voyage of discovery, under commission from Francis I., was apparently in 1523, though it is much confused with the doings of Juan Florin in that year against the Spaniards. His notable voyage to America was made in 1524 and he seems to have touched the coast of North Carolina near Cape Fear. parently coasted south and then north, probably as far as Cape Breton. The chief evidence of this interesting voyage is a letter of Verrazano to Francis I., the authenticity of which is questioned. After his return he fought in the battle of Pavia, February 24, 1525, and was temporarily a prisoner of the Spaniards. If Verrazano was Juan Florin he was captured again at sea in 1527 and hanged, but some later documents indicate that he was at a later time in the year in Paris, preparing another expedition for America. Consult : H. C. Murphy, The Voyage of Verrazano (Albany, 1875), the most complete presentation of the argument against the authenticity of the account of the voyage; also, on the other side, B. F. De Costa, Verrazano the Explorer (New York, 1880), with a full bibliog raphy; Winsor, Narrative and Critical History of America, vol. iv. (Boston), for a critical discussion of authorities.

VERRES, věrʼrēz. A Roman politician. He was elected prætor in B.C. 74, and by lot became prætor urbanus. At the expiration of his term of office he went as Governor (proprætor) to Sicily, the richest province of the Republic.

Here he was guilty of oppression and extortion, and was accused by the Sicilians. Cicero managed the prosecution, and Hortensius the defense. Cicero had prepared six orations, but at the close of the first so clear was the guilt of Verres that, without awaiting his sentence, he fled to Massilia (Marseilles), remaining in exile 27 years. VER'RILL, ADDISON EMORY (1839-). An American zoologist, born at Greenwood, Maine; graduated at Harvard College in 1862 and was appointed to the chair of zoology at Yale College in 1864; from 1867 to 1870 he was a professor in the University of Wisconsin. From 1860 Verrill, investigated the invertebrate fauna of the Atlantic Coast, with especial reference to the polyps, echinoderms, worms, and mollusks, and became the chief authority on the living cephalopods, especially the colossal squids of the North Atlantic. His Report upon the Invertebrate Animals of Vineyard Sound (with S. I. Smith, 1874) is a standard manual of the marine zoology of Southern New England. His collections were deposited in the Peabody Museum of Yale University. In later life he explored with his students the geology and marine animals of the Bermuda Islands, and published The Bermuda Islands (1903). Besides many memoirs and articles he wrote: Revision of the Polypi of the Eastern Coast of the United States (1866); The Cephalopods of the Northeastern Coast of America (1879-82).

VERROCCHIO, vĕr-rỡ kẻ-ô, ANDREA DEL (143588). A celebrated Florentine sculptor, painter and goldsmith. His father, Michele di Cione, having died while the lad was young, Andrea assumed the name of the goldsmith Giuliano de' Verrocchio, to whom he was apprenticed. From technique of bronze casting and the high finish this training he acquired his mastery of the of his plastic productions. The only surviving example of his goldsmith work is a relief in silver, Cathedral Museum at Florence. of the "Beheading of John the Baptist," in the In sculpture

his real master was Donatello, if indeed he did not actually study under him. One of his earliest works was the completion of that master's charming marble fountain in the Sacristy of San Lorenzo.

The most important of Verrocchio's commissions in Florence were for the Medici. In San Lorenzo he designed the bronze sepulchral slab of Cosimo de' Medici (d. 1464), and carved the beautiful marble tomb of Giovanni and Piero, a decorative masterpiece of most original conception, finished in 1472. For Lorenzo the Magnificent he also designed a bronze statue of the "Youthful David" (1476, Museo Nazionale), an admirable rendering of the transition of the human figure from youth to manhood, as naturalistic as it is graceful in position and form. His "Boy with a Fish," a charming fountain-piece, still adorns the court of the Palazzo Vecchio. in Orsanmichele, Florence, survives as The marble group of the "Incredulity of Thomas." one of the finest of the Renaissance, both in technical execution and in the beauty and majesty of the figures. His last work, the equestrian statue of "Bartolomeo Colleoni," at Venice, is his most celebrated. In this the martial bearing of the rider is as admirable as the anatomical perfection of the striding steed. Upon his death in 1488, he had completed the model of horse and rider,

which were cast somewhat later by Alessandro Leopardi, who also designed the pedestal.

In painting he is more famous through his pupils Leonardo da Vinci and Lorenzo di Credi, than for his own achievements. There is much dispute over the pictures to be assigned to him. The "Baptism of Christ" (Florentine Academy), in which Leonardo assisted, is one of the few certain attributions. His figures are well modeled, but somewhat stiff in action and hard in color. He was, however, an innovator in that he was the first Florentine to render atmospheric perspective. Of the nu merous drawings attributed to him the "Angel's Head," in the Uffizi, and a "Female Head," in the British Museum, are the most celebrated.

Consult: Mackowsky, Verrochio (Bielefeld, 1901); and Bode, Italienische Bildhauer der Renaissance (Berlin, 1887); also Perkins, Tuscan Sculptors (London, 1864).

VERSAILLES, vĕr'sä'y'. The capital of the Department of Seine-et-Õise, France, situated about 12 miles by rail and by tram southwest of Paris (Map: France, J 3). The flat town, with its quiet avenues, has little of interest or charm save what is offered by the famous palace and park, whose magnificence under the Bourbons made this unequaled in fame among all the royal residences of the world. In the town are a library of over 112,000 volumes, a hippodrome, and a shooting school. The population in 1901 numbered 54,982; it was formerly 100,000.

The palace, dating from 1661, and restored and converted into an historical museum under Louis Philippe, is on the western side of the town, with the park beyond. The park is laid out on regular lines running obliquely to the meridian. Three spacious avenues-the middle one the historic Avenue de Paris-pass through Versailles and converge in the great Place des Armes, which separates the palace from the town and through which the former is entered. South of this place is the room of the Jeu de Paume, where the famous Third Estate met in June, 1789. The room contains a Musée de la Révolution. The palace is composed of a central square, two wings at the right and left of it, and a third wing backing on the square and extending into the park. The imposing façade is onefourth of a mile long. The Cour d'Honneur is entered from the Place, large pillars marking the entrance and symbolizing national victories under Louis XIV. Most of the great French painters, notably David, Delacroix, and Horace Vernet, are represented here, and all the history of France, with its great battles and ceremonies, is spread on canvas before the visitor. There are also countless portraits and statues.

The royal chapel is sumptuously adorned, and has good ceiling pictures by Coypel. At the north end of this wing is the theatre, built by Louis XV. and used by the National Assembly after the Franco-Prussian War and later by the Senate. The Rooms of the Crusades are resplendent and covered with large modern paintings. The impressive Galerie de Constantine holds some of the finest battle pictures of Vernet. The Grands Apartments of Louis XIV. overlook the park, and contain noteworthy paintings. Adjoining is the famous Galerie des Glaces-an immense and sumptuous room facing the centre of the gardens. Its paintings are by Charles Lebrun. William

I. was crowned Emperor of Germany in this room in 1871. The bedchamber of Louis XIV. is imposing and contains the magnificent bed on which he breathed his last. His Petits Apartments are contiguous, and include the bedchamber of Louis XV., where he died. The famous antechamberthe Eil de Bœuf, so termed from its oval window-was where the gentlemen of the Court awaited the royal lever.' The Grands Apartments of the Queen are beautifully decorated. In the immense and gorgeous Galerie des Bataillesover 130 yards long-are many grand battle pictures by modern French artists. The Galerie de l'Empire contains paintings representing the career of Napoleon.

The park with its decorative ponds and vast fountains was first laid out by the celebrated Le Nôtre. It is imposing, but thoroughly stiff and artificial, and has served as a famous type of Renaissance garden. Terraces, large ornamental basins, huge vases overflowing with flowers, countless marble groups and busts, statuesespecially reflecting the appropriate art of Coyzevox-quincunxes, bosquets, and geometrically trimmed trees, here mock nature and the natural. An immense pond stretches away in the shape of a cross in front of the palace. The playing of the grand fountains, enlivened by colored lights, is one of the great sights in and about Paris. The water is supplied by the famous machine of Marly. The largest fountain, the Bassin de Neptune, is a wonderful piece of hydraulic mechanism. Two immense flights of marble step descend on the opposite side of the palace to the famous orangery, beyond which extends a vast pond which was dug by the Swiss guard of Louis XIV. A school of horticulture is near. The gardens proper have a salle de Bal or des Rocailles, and contain the Bosquet de la Reine, where the notorious transaction of the diamond necklace took place. In the northern section of the park are the charming Grand and Petit Trianon. (See TRIANON.) Near by are the carriage houses, with many vehicles of state, including some of the magnificent equipages used by Napoleon.

ment.

A

HISTORY. When Louis XIV, chose Versailles s the site of his new palace and park, it had little to commend it, being a low, swampy area, and distant from an adequate water supply. château (1627) of Louis XIII., however, was situated here. The 'grand monarch' lavished vast sums in laying out, completing, and maintaining this magnificent royal seat. The Court came here permanently about 1682, and from this date for over a hundred years Versailles figured prominently in history. Louis XV. dwelt here and Madame de Pompadour and Madame Du Barry reigned over this vast pleasure establishHere, too, Louis XVI. and Marie Antoinette resided. In the palace was signed the treaty of 1783 between England, France, and Spain, on the same day (September 3d) on which the definite treaty of peace in which England recognized the independence of the United States was signed in Paris. On October 6th the palace was ravaged in the presence of Louis by the market women and fish-wives, with the result that the King and Queen were forced to go to Paris. The meeting of the States-General, the opening act of the French Revolution, took place here on May 4, 1789. Since then it has has never been a residence. During the siege of Paris in

He

VERSCHAFFELT, vĕr-skäf'fĕlt, PIETER ANTONIE (known also as PIETRO FIAMMINGO) (171093). A Flemish sculptor and architect, one of the best known exponents of the rococo style. He was born in Ghent and studied under his uncle, Pieter de Sutter, and Bouchardon in Paris. executed in Rome a monument to Pope Benedict XIV., the bronze figure of the archangel Michael (1740) which surmounts the Castle of Sant' Angelo, and numerous busts. By the Elector Palatine, Charles Theodore of Bavaria, he was appointed director of the academy at Mannheim. There he spent the remainder of his life. built the arsenal and set up the high altar of the Hofkirche.

He

VERSECZ, věr'shěts. A town in the County of Temes, Hungary, at the foot of the Versecz Mountain, 45 miles south of Temesvár (Map: Hungary, G 4). Steam sawmills, breweries, and machine shops are the chief industrial establishments. The town is famous for its brandy and red wine. Population, in 1900, 25,199, mainly Germans and Magyars.

con

VERSIFICATION (Lat. versificatio, from versificare, to versify, from versus, verse, line, furrow, turning, from vertere, to turn; nected with Skt. vart, to turn, Goth. wairpan, AS. weorpan, OHG. werdan, Ger. werden, to become+facere, to make, do). A term used to designate both the art of making verses and the principles on which that art is based. In the latter sense it includes rhythm and metre. By rhythm is meant the measured movement of language which is caused by the regular recurrence of metrical units known as feet. These units may be formed by a combination either of long and short syllables, i.e. be based on quantity, or of stressed and unstressed syllables, i.e. be based on accent. Metre deals with the measurement of poetry by means of the rhythmical feet.

GREEK AND LATIN.

The unit of measure for the foot is the short syllable,, technically called mora. having the musical value of an eighth note; a long syllable is equivalent to two more,, . In certain measures a long syllable may be protracted to the length of three or four moræ,, 19 q; or a syllable may be shortened so as to occupy less than its normal time. These phenomena, however, are confined for the most part to logaœdic verse (q.v.), and therefore have been dealt with under that head. Each foot has an accented and an unaccented part. The portion on which the metrical accent, ictus, falls is called the thesis, the unaccented the arsis.

The principal feet are the following:

Tribrach~~~

Xéyere, hominis

Dactyl Anapæst

Spondee

Choriambus

Ionic amaiore.

Ionic a minore~~

- ερχομένη, difficiles

ἐκλείπομεν, deduceremppro ἐλελοίπη, relegebant per

These feet are variously combined into the larger units of dipody (two feet), metrical sentence or colon, and verse, which are bound together by the fact that the chief ictus falls on one foot in each unit; the colon and verse may be identical, as in some lyric measures, or the verse may contain two or more cola. Verses are named trochaic, iambic, dactylic, etc., according to the nature of the fundamental foot. The last syllable of most verses may be either long or short indifferently, syllaba anceps; if the last foot lacks a syllable, the verse is called catalectic, · but if it be complete, acatalectic. Whenever a word ends within a foot, the resulting break is known as cœsura and is marked thus, ||; if the end of a word coincide with the end of a foot, the break is named diaresis, noted thus #.

TROCHAIC RHYTHMS. Trochaic verses are usually measured by dipodies (v÷ ~). In the place of the second trochee, rarely of the first, a spondee pronounced in the time of a trochee (hence called an irrational spondee, ->) may be admitted. The apparent anapest (~~) and and the tribrach (~~) is freely substituted the cyclic dactyl ~) are sometimes used; in any foot but the last. The most frequent trochaic line is the tetrameter catalectic, measuring seven feet and one syllable, divided into two cola by a diæresis after the second dipody. The movement is rapid and well suited to express excitement. It was employed by Archilochus and Solon; it was the favorite measure of Epicharmus, and is frequently employed in the old Attic comedy. In early tragedy it was also used, but in the later only after about B.C. 415. Example: