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Feast in the House of Levi - Paolo Veronese

Eating at home of Levi , 1573

Oil on canvas, 555 cm × 1280 cm

Paolo Veronese, Academy of Venice

Act tribunal of the Inquisition, Venice, July 18, 1573, subject to judge: The feast in Simon's house

The Inquisitor. - In this scene you have painted for the church of Santi Giovanni e Paolo, what does the man bleeding from the nose?

Veronese. - I wanted to represent a servant who had suffered an accident.

The Inquisitor. - And these armed men dressed as German and equipped with halberds?

Veronese. - We, the artists, we take the same liberties as poets and fools, I've painted, then, two spearmen, one who drinks, and another that eats the side near the stairs. They are there to serve the owner of the house, which, as I have said, was a wealthy man and probably had servants of this class.

The Inquisitor. - Why have you painted man wearing a clown and a parrot in hand?

Veronese. - As an ornament, is commonplace.

The Inquisitor. - About are sitting at the table of our Lord?

Veronese. - Twelve Apostles.

The Inquisitor. - What does Peter, the first one?

Veronese. - Cut the lamb to make it happen at the table.

The Inquisitor. - What does the apostle next?

Veronese. - a dish tends to take what he gives Peter.

The Inquisitor. - What next?

Veronese. - Cleans teeth. The

Inquisitor. - Who do you think actually attended this dinner?

Veronese. - I think there were Christ and his apostles, but when a box is empty space, add characters that suit the theme.

The Inquisitor. - What artists added to their pictures, should not be appropriate to the theme and main characters? Or do you put into your work, for your pleasure, just what comes to mind you, without discretion or discrimination?

Veronese. - I paint my paintings as I think and the best my talent let me.

This is one of the larger pictures of the sixteenth century, and its 12 meters long by 5 high are monumental. Of all the episodes from the life of Christ, Veronese prefers to paint those related to food. Transforms them into sumptuous feasts, moved to Venice's most contemporary of the author. The light is clear, the characters are well defined, the colors vibrate between satins, velvets and brocades. The attitudes and gestures are familiar and free. The Inquisition disapprove such painting, but what is the capacity of Venice against all and against an artist in this category? The Verona is the Venetian par excellence.