Veronese sets his version in aristocratic Venice.

委罗内塞将他这一版本设定在贵族威尼斯。

In 1912, alongside Mother Goose Biscuits and Veronese Biscuits, Oreo Biscuits made up the Biscuit Trio.

1912 年，奥利奥饼干与 Mother Goose 饼干和 Veronese 饼干组合推出了饼干三重奏。

Her perceptive book traces Napoleon's systematic gathering of artistic treasures as he conquered Italy, focusing on Veronese's masterpiece.

她的书极具洞察力，追溯了拿破仑在征服意大利时有计划地收集艺术珍品的过程，重点关注了委罗内塞的杰作。

Veronese was a " first-draft" , speedy painter, rarely making mistakes or alterations (Titian, by contrast, was a ponderous reviser).

委罗内塞是一位“初稿”画家，作画速度很快，很少出错或进行修改（相比之下，提香则是一位喜欢不断修修改改的人）。

In September 1797 Napoleon Bonaparte's troops stripped a huge 16th-century painting by Paolo Veronese from the wall of a Venetian monastery.

1797年9月，拿破仑·波拿巴的军队从威尼斯一座修道院的墙上夺走了一幅由保罗·委罗内塞创作的16世纪巨幅油画。

Veronese's canvas captures two themes that recur in this entertaining and erudite romp through the history of Venice.

委罗内塞的画布捕捉了两个主题，这两个主题在威尼斯历史的这段有趣而博学的嬉戏中反复出现。

In Venice itself, the author claims, slaves like the one in Veronese's painting were " looked after, protected and given the wherewithal to thrive in the outside world once set free" .

作者声称，在威尼斯本身，像委罗内塞画中的奴隶一样，“受到照顾、保护，一旦获得自由，他们就会得到必要的资金，在外面的世界茁壮成长”。

For this vast work-a " wonder of the world" , as Giacomo Barri put it in 1671-Veronese was paid a third more than Tintoretto was for his " Crucifixion" a couple of years later.

贾可莫·巴里在1671年称这部巨作为“世界奇迹”，委罗内塞画这幅画获得的报酬比几年后丁托列托创作《基督受刑》的报酬高出三分之一。