This paper explores some aspects of the fortune of Paolo Veronese in seventeenth-century France. Although his name is often associated with his skills in large-scale compositions and decoration, with such emblematic paintings as the Feast in the House of Simon the Pharisee – gift of the Serenissima to the King of France in 1664 – it appears that Paolo was probably even more appreciated for his elegant and sophisticated representations of female figures. This particular aspect of the critical fortune of Paolo Veronese has been assessed through a broad range of art treatises and paintings in French collections, revealing how these female figures were perceived and admired for their grace, elegance and their representation in harmonious colours.