Dome

While exposing her breast to the thrust of the dagger that will kill her, Saint Lucy turns her head to accept communion from a priest. This unconventional addition of the sacrament to the scene of Lucy's martyrdom is a reminder of the Counter-Reformation climate that shadowed Veronese's career. Twice, the artist had defended himself against allegations of impropriety in his treatment of religious subjects. Sketchily rendered in the background is a team of oxen; these are the beasts who had failed to drag the chaste Lucy -- made miraculously immobile -- to the brothel where she had been condemned for her Christian faith. A glimpse of fire behind Lucy alludes to another failed attempt to martyr this third-century saint. Veronese's own Venice, and not Lucy's ancient Syracuse, is made the backdrop to this scene. A brilliant decorator, Veronese was celebrated for his sumptuous histories and mythologies which he translated into opulent present-day surroundings and dress. If the artist was best known for the sparkling blond harmonies of his mature work, the Martyrdom of Saint Lucy is a masterpiece of his late style and reveals a different aspect of his temperament. Here, cast in evening light, the colors have deepened and acquired a muted glow. (National Gallery of Art, Washington, D.C., website; 4/5/2004)full view