Ruskin at Works, 12.461, and following, comments in detail on Veronese 's of architecture, which is, in style, 'a good deal debased'.
Kugler, ed. Eastlake, Handbook of the History of Painting, Part One, The Italian Schools, First Edition, p. 378, stresses the 'most beautiful display of grand architecture' in the work of Veronese. This is consistent with the view in MP I:115 that only Veronese and Leonardo da Vinci are exempt from the charge of 'inanity and absurdity' in designing architecture before they painted it.
However, there are reservations about Veronese 's technique at MP I:84 where the architecture of Veronese appears ghostly by comparison with that of Giovanni Bellini. At MP I:107 there is a reference to the architecture of Veronese which would be 'utterly false except as a frame for figures'. Rosand, 'Theater and Structure in the Art of Paul Veronese', pp. 107ff examines Veronese's architecture as a setting for theatrical tableaux.
On two occasions - for the Villa Barbaro at Maser, and for the refectory of San Giorgio Maggiore - Veronese shared a patron and a project with the architect Palladio, and Ruskin 's approach to the 'mischief' ( Works, 9.46) of Palladio and Palladianism is entirely hostile. See for example Ruskin's comments on San Giorgio Maggiore at Works, 11.381.