Berenson, Venetian Painters of the Renaissance, Section XX, notes the contradictions in Veronese 's work. He draws attention to his provincial early life and art education in a 'town which did no ruling, and certainly not at all so much thinking as Venice', remarks on the 'his singularly happy combination of ceremony and splendour with an almost childlike naturalness of feeling', but observes that 'his cheerfulness, and his frank and joyous worldliness' seem to have been particularly welcome to those in monasteries 'who were expected to male their meat and drink of the very opposite qualities'.
His worldliness has also troubled twentieth century critics who have seen a conflict between his religious themes and the opulence of his settings. Such views are discussed - and rejected - by Rosand, 'Theater and Structure in the Art of Paul Veronese', p. 226, n. 59.
It is perhaps the fact of these contradictions, like the contradictions in the experience of Venice itself, which made Veronese such a significant painter for Ruskin.