ined, in agreement with
that good father, to paint for it the Nuptials of Queen Esther and King
Ahasuerus, all in a picture fifteen braccia long, and in oils, but first
to set it in place and then to work at it there. That method--and I can
speak with authority, for I have proved it--is in truth that which
should be followed by one who wishes that his pictures should have their
true and proper lights, for the reason that in fact working at pictures
in a place lower or other than that where they are to stand, causes
changes in their lights, shadows, and many other properties. In that
work, then, I strove to represent majesty and grandeur; and, although I
may not judge whether I succeeded, I know well that I disposed
everything in such a manner, that there may be recognized in passing
good order all the manners of servants, pages, esquires, soldiers of the
guard, the buttery, the credence, the musicians, a dwarf, and every
other thing that is required for a magnificent and royal banquet. There
may be seen, among others, the steward bringing the viands to the table,
accompanied by a good number of pages dressed in livery, besides
esquires and other servants; and at the ends of the table, which is
oval, are lords and other great personages and courtiers, who are
standing on their feet, as is the custom, to see the banquet. King
Ahasuerus is seated at table, a proud and enamoured monarch, leaning
upon the left arm and offering a cup of wine to the Queen, in an
attitude truly dignified and regal. In short, if I were to believe what
I heard said by persons at that time, and what I still hear from anyone
who sees the work, I might consider that I had done something, but I
know better how the matter stands, and what I would have done if my hand
had followed that which I had conceived in idea. Be that as it may, I
applied to it--and this I can declare freely--study and diligence. Above
the work, on a spandrel of the vaulting, comes a Christ who is offering
to the Queen a crown of flowers; and this was done in fresco, and placed
there to denote the spiritual conception of the story, which signified
that, the ancient Synagogue being repudiated, Christ was espousing the
new Church of his faithful Christians.

At this same time I made the portrait of Luigi Guicciardini, brother of
the Messer Francesco who wrote the History, because that Messer Luigi
was very much my friend, and that year, being Commissary of Arezzo, had
caused me out