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The Ascended Master Paul the Venetian
Ascended Master of Radiant Beauty and Divine Love
The Ascended Master Paul the Venetian is Lord of the Third Ray, the pink ray of divine love, compassion and charity. He teaches the way of love through wisdom in action in order to prepare disciples to receive the Holy Spirit’s gift of discerning of spirits. Paul the Venetian is devoted to beauty, the perfection of the soul through patience, understanding, self-discipline and the development of the intuitive and creative faculties of the heart.
The Creation Of Culture and Beauty
Throughout his embodiments, Paul the Venetian played a variety of important cultural and artistic roles. On Atlantis, he served in government as head of cultural affairs. Before the sinking of Atlantis, Paul sailed to Peru to establish a focus of the liberty flame. This later enabled the Incas to produce a flourishing civilization.
Paul also embodied as an artist in the Incan empire and developed paints that would not fade. In an incarnation in Egypt, he was a master of esoteric architecture, working with El Morya. Also in Egypt and another embodiment, Paul became an expert mason in the construction of pyramids.
The Artist Paolo Veronese,
Paul the Venetian’s final embodiment was as Paolo Veronese, the renowned renaissance painter (1528-1588). Born in Verona, Italy in 1528 into an artistic environment—his father being a sculptor, it is not surprising that Paulo’s talents began to flourish. At fourteen, Paulo apprenticed with a local master painter. Soon though the young painter’s prodigious gifts surpassed the training he could receive at the studio of the best artist in his city. In addition, Veronese’s preference was for a more radiant color palette than that of his contemporaries.
Knowledge of Paulo Veronese’s talent spread, and he was summoned to Venice in 1555 to decorate the ceiling of the San Sebastiano Church. He received additional commissions for an altar piece and smaller works and a series of historical paintings for a castle near Vicenza. As Veronese’s reputation grew, he was commissioned to complete increasingly important works.
One of these, a large canvas called The Wedding at Cana utilized his trademark intense colors and multiple figures. His use of color continued to grow in intensity and luminosity. His ability to tell a story on canvas, including intricate interactions between multiple figures, was unmatched. Veronese’s most famous painting, entitled Feast in the House of Levi was a depiction of The Last Supper. However, Veronese was required to appear in front of an Inquisition panel to explain a number of figures and details that appear in the painting. Veronese preferred to make Christ and his disciples reachable and approachable to viewers. Rather than argue over the painting’s content, Veronese simply called the painting Feast in the House of Levi instead of The Last Supper.
Veronese worked in many artistic mediums including pencil sketches, pen and ink and chalk. Many of his drawings also became collector’s items. Unlike the traditional perception that most of us have of artists as high-strung and hot-tempered sorts, Veronese was reputed to be warm and friendly, kind and affectionate. He managed a teaching studio that continued after his death, run by two of his sons. Some art historians consider Veronese to be the founder of modern painting.
A Vignette in the Life of the Master Artist
On one cloudy morning, Paulo Veronese had been hard at work in his studio attempting to capture on canvas the image of the face of an angel. He was experiencing some challenges with this project. And, in fact, such a feeling of oppression came over him that he felt compelled to flee his studio—pallet, paints and brushes in hand. Walking out into the bustling street did nothing to calm him. Driven by this unease, he distanced himself from town, with its noise and feeling of heaviness in the direction of the countryside.
Soon he approached a small churchyard near a field and began to feel less agitated. A breeze blew, clouds were thinning. But as he was about to set up his materials, the sounds of sobbing reached his ears. There at the site of a new grave, a young lady knelt thoroughly overcome with grief. He didn’t know what to do. Should he approach her? He was a stranger and might frighten her.
He decided stay put and offer a brief prayer of comfort. As Veronese prayed, the clouds parted, filling the field and churchyard with glorious sunshine. The young woman stopped her sobbing and looked up. …And Veronese saw the face that he had been attempting to paint. Approaching her now, he offered these words of comfort as he touched an apple blossom on a nearby tree, “Daughter, there is a resurrection in nature, and all things do pass and go through their cycles only to return once again to the fullness and the dawn of bloom. And in the resurrection, your father dear shall return to you.”
The young woman nodded but explained how much she missed him right now—how lonely she was for her father. And once again Veronese prayed with her. This time taking her hand as he prayed, he felt a transfer of light as an energy coursing through him to her. Suddenly, every vestige of sorrow and pain left her beautiful face.
The young woman went home to bring comfort to her family. And Veronese returned to his studio to paint his remembrances of her glowing face, the face of an angel.