Meanwhile the building of my house at Arezzo had been finished, and I returned home, where I made designs for painting the hall, three chambers, and the façade, as it were for my own diversion during that summer. In those designs I depicted, among other things, all the places and provinces where I had laboured, as if they were bringing tributes, to represent the gains that I had made by their means, to that house of mine. For the time being, however, I did nothing but the ceiling of the hall, which is passing rich in woodwork, with thirteen large pictures wherein are the Celestial Gods, and in four angles the four Seasons of the year nude, who are gazing at a great picture that is in the centre, in which, with figures the size of life, is Excellence, who has Envy under her feet and has seized Fortune by the hair, and is beating both the one and the other; and a thing that was much commended at the time was that as you go round the hall, Fortune being in the middle, from one side Envy seems to be over Fortune and Excellence, and from another side Excellence is over Envy and Fortune, as is seen often to happen in real life. Around the walls are Abundance, Liberality, Wisdom, Prudence, Labour, Honour, and other similar things, and below, all around, are stories of ancient painters, Apelles, Zeuxis, Parrhasius, Protogenes, and others, with various compartments and details that I omit for the sake of brevity. In a chamber, also, in a great medallion in the ceiling of carved woodwork, I painted Abraham, with God blessing his seed and promising to multiply it infinitely; and in four squares that are around that medallion, I painted Peace, Concord, Virtue, and Modesty. And since I always adored the memory and the works of the ancients, and perceived that the method of painting in distemper-colours was being abandoned, there came to me a desire to revive that mode of painting, and I executed the whole work in distemper; which method certainly does not deserve to be wholly despised or abandoned. At the entrance of the chamber, as it were in jest, I painted a bride who has in one hand a rake, with which she seems to have raked up and carried away with her from her father's house everything that she has been able, and in the hand that is stretched in front of her, entering into the house of her husband, she has a lighted torch, signifying that where she goes she carries a fire that consumes and destroys everything.
While I was passing my time thus, the year 1548 having come, Don Giovan Benedetto of Mantua, Abbot of SS. Fiore e Lucilla, a monastery of the Black Friars of Monte Cassino, who took infinite delight in matters of painting and was much my friend, prayed me that I should consent to paint a Last Supper, or some such thing, at the head of their refectory. Whereupon I resolved to gratify his wish, and began to think of doing something out of the common use; and so I determined, 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 of love for me to buy a very large property in land, called Frassineto, in Valdichiana, which has been the salvation and the greatest prop of my house, and will be the same for my successors, if, as I hope, they prove true to themselves. That portrait, which is in the possession of the heirs of that Messer Luigi, is said to be the best and the closest likeness of the infinite number that I have executed. But of the portraits that I have painted, which are so many, I will make no mention, because it would be a tedious thing; and, to tell the truth, I have avoided doing them to the best of my ability. That finished, I painted at the commission of Fra Mariotto da Castiglioni of Arezzo, for the Church of S. Francesco in that city, an altar-picture of Our Lady, S. Anne, S. Francis, and S. Sylvester. And at this same time I drew for Cardinal di Monte, my very good patron, who was then Legate in Bologna, and afterwards became Pope Julius III, the design and plan of a great farm which was afterwards carried into execution at the foot of Monte Sansovino, his native place, where I was several times at the orders of that lord, who much delighted in building.
Having gone, after I had finished these works, to Florence, I painted that summer on a banner for carrying in processions, belonging to the Company of S. Giovanni de' Peducci of Arezzo, that Saint on one side preaching to the multitude, and on the other the same Saint baptizing Christ. Which picture, as soon as it was finished, I sent to my house at Arezzo, that it might be delivered to the men of the above-named Company; and it happened that Monsignor Giorgio, Cardinal d'Armagnac, a Frenchman, passing through Arezzo and going to see my house for some other purpose, saw that banner, or rather, standard, and, liking it, did his utmost to obtain it for sending to the King of France, offering a large price. But I would not break faith with those who had commissioned me to paint it, for, although many said to me that I could make another, I know not whether I could have done it as well and with equal diligence. And not long afterwards I executed for Messer Annibale Caro, according as he had requested me long before in a letter, which is printed, a picture of Adonis dying in the lap of Venus, after the invention of Theocritus; which work was afterwards taken to France, almost against my will, and given to M. Albizzo del Bene, together with a Psyche gazing with a lamp at Cupid, who wakens from his sleep, a spark from the lamp having scorched him. Those figures, all nude and large as life, were the reason that Alfonso di Tommaso Cambi, who was then a very beautiful youth, well-lettered, accomplished, and most gentle and courteous, had himself portrayed nude and at full length in the person of the huntsman Endymion beloved by the Moon, whose white form, and the fanciful landscape all around, have their light from the brightness of the moon, which in the darkness of the night makes an effect passing natural and true, for the reason that I strove with all diligence to counterfeit the peculiar colours that the pale yellow light of the moon is wont to give to the things upon which it strikes. After this, I painted two pictures for sending to Ragusa, in one Our Lady, and in the other a Pietà; and then in a great picture for Francesco Botti Our Lady with her Son in her arms, and Joseph; and that picture, which I certainly executed with the greatest diligence that I knew, he took with him to Spain. These works finished, I went in the same year to see Cardinal di Monte at Bologna, where he was Legate, and, dwelling with him for some days, besides many other conversations, he contrived to speak so well and to persuade me with such good reasons, that, being constrained by him to do a thing which up to that time I had refused to do, I resolved to take a wife, and so, by his desire, married a daughter of Francesco Bacci, a noble citizen of Arezzo. Having returned to Florence, I executed a great picture of Our Lady after a new invention of my own and with more figures, which was acquired by Messer Bindo Altoviti, who gave me a hundred crowns of gold for it and took it to Rome, where it is now in his house. Besides this, I painted many other pictures at the same time, as for Messer Bernardetto de' Medici, for Messer Bartolommeo Strada, an eminent physician, and for others of my friends, of whom there is no need to speak.
In those days, Gismondo Martelli having died in Florence, and having left instructions in his testament that an altar-picture with Our Lady and some Saints should be painted for the chapel of that noble family in S. Lorenzo, Luigi and Pandolfo Martelli, together with M. Cosimo Bartoli, all very much my friends, besought me that I should execute that picture. Having obtained leave from the Lord Duke Cosimo, the Patron and first Warden of Works of that church, I consented to do it, but on condition that I should be allowed to paint in it something after my own fancy from the life of S. Gismondo, in allusion to the name of the testator. Which agreement concluded, I remembered to have heard that Filippo di Ser Brunellesco, the architect of that church, had given a particular form to all the chapels to the end that there might be made for each not some little altar-piece, but some large scene or picture which might fill the whole space. Wherefore, being disposed to follow in that respect the wishes and directions of Brunelleschi, and paying regard rather to honour than to the little profit that I could obtain from that commission, which contemplated the painting of a small altar-picture with few figures, I painted in an altar-piece ten braccia in breadth, and thirteen in height, the story, or rather, martyrdom, of the King S. Gismondo, when he, his wife, and his two sons were cast into a well by another King, or rather, Tyrant. I contrived that the ornamental border of that chapel, which is a semi-circle, should serve as the opening of the gate of a great palace in the Rustic Order, through which there should be a view of a square court supported by pilasters and columns of the Doric Order; and I arranged that through that opening there should be seen in the centre an octagonal well with an ascent of steps around it, by which the executioners might ascend, carrying the two sons nude in order to cast them into the well. In the loggie around I painted on one side people gazing upon that horrid spectacle, and on the other side, which is the left, I made some soldiers who, having seized by force the wife of the King, are carrying her towards the well in order to put her to death. And at the principal door I made a group of soldiers that are binding S. Gismondo, who with his relaxed and patient attitude shows that he is suffering most willingly that death and martyrdom, and he stands gazing on four Angels in the air, who are showing to him palms and crowns of martyrdom for himself, his wife, and his sons, which appears to give him complete comfort and consolation. I strove, likewise, to demonstrate the cruelty and fierce anger of the impious Tyrant, who stands on the upper level of the court to behold his vengeance and the death of S. Gismondo. In short, so far as in me lay, I made every effort to give to all the figures, to the best of my ability, the proper expressions and the appropriate attitudes and spirited movements, and all that was required. How far I succeeded, that I shall leave to be judged by others; but this I must say, that I gave to it all the study, labour, and diligence in my power and knowledge.
Meanwhile, the Lord Duke Cosimo desiring that the Book of the Lives, already brought almost to completion with the greatest diligence that I had found possible, and with the assistance of some of my friends, should be given to the printers, I gave it to Lorenzo Torrentino, printer to the Duke, and so the printing was begun. But not even the Theories had been finished, when, Pope Paul III having died, I began to doubt that I might have to depart from Florence before that book was finished printing. Going therefore out of Florence to meet Cardinal di Monte, who was passing on his way to the Conclave, I had no sooner made obeisance to him and spoken a few words, than he said: "I go to Rome, and without a doubt I shall be Pope. Make haste, if you have anything to do, and as soon as you hear the news set out for Rome without awaiting other advice or any invitation." Nor did that prognostication prove false, for, being at Arezzo for that Carnival, when certain festivities and masquerades were being arranged, the news came that the Cardinal had become Julius III. Whereupon I mounted straightway on horseback and went to Florence, whence, pressed by the Duke, I went to Rome, in order to be present at the coronation of the new Pontiff and to take part in the preparation of the festivities. And so, arriving in Rome and dismounting at the house of Messer Bindo, I went to do reverence to his Holiness and to kiss his feet. Which done, the first words that he spoke to me were to remind me that what he had foretold of himself had not been false. Then, after he was crowned and settled down a little, the first thing that he wished to have done was to satisfy an obligation that he had to the memory of Antonio, the first and elder Cardinal di Monte, by means of a tomb to be made in S. Pietro a Montorio; of which the designs and models having been made, it was executed in marble, as has been related fully in another place. And meanwhile I painted the altar-picture of that chapel, in which I represented the Conversion of S. Paul, but, to vary it from that which Buonarroti had executed in the Pauline Chapel, I made S. Paul young, as he himself writes, and fallen from his horse, and led blind by the soldiers to Ananias, from whom by the imposition of hands he receives the lost sight of his eyes, and is baptized; in which work, either because the space was restricted, or whatever may have been the reason, I did not satisfy myself completely, although it was perhaps not displeasing to others, and in particular to Michelagnolo. For that Pontiff, likewise, I executed another altar-picture for a chapel in the Palace; but this, for reasons given elsewhere, was afterwards taken by me to Arezzo and placed at the high-altar of the Pieve. If, however, I had not fully satisfied either myself or others in the last-named picture or in that of S. Pietro a Montorio, it would have been no matter for surprise, because, being obliged to be continually at the beck and call of that Pontiff, I was kept always moving, or rather, occupied in making architectural designs, and particularly because I was the first who designed and prepared all the inventions of the Vigna Julia, which he caused to be erected at incredible expense. And although it was executed afterwards by others, yet it was I who always committed to drawing the caprices of the Pope, which were then given to Michelagnolo to revise and correct. Jacopo Barozzi of Vignuola finished, after many designs by his own hand, the rooms, halls, and many other ornaments of that place; but the lower fountain was made under the direction of myself and of Ammanati, who afterwards remained there and made the loggia that is over the fountain. In that work, however, it was not possible for a man to show his ability or to do anything right, because from day to day new caprices came into the head of the Pope, which had to be carried into execution according to the daily instructions given by Messer Pier Giovanni Aliotti, Bishop of Forlì.
During that time, being obliged in the year 1550 to go twice to Florence on other affairs, the first time I finished the picture of S. Gismondo, which the Duke went to see in the house of M. Ottaviano de' Medici, where I executed it; and he liked it so much, that he said to me that when I had finished my work in Rome I should come to serve him in Florence, where I would receive orders as to what was to be done. I then returned to Rome, where I gave completion to those works that I had begun, and painted a picture of the Beheading of S. John for the high-altar of the Company of the Misericordia, different not a little from those that are generally done, which I set in place in the year 1553; and then I wished to return, but I was forced to execute for Messer Bindo Altoviti, not being able to refuse him, two very large loggie in stucco-work and fresco. One of them that I painted was at his villa, made with a new method of architecture, because, the loggia being so large that it was not possible to turn the vaulting without danger, I had it made with armatures of wood, matting, and canes, over which was done the stucco-work and fresco-painting, as if the vaulting were of masonry, and even so it appears and is believed to be by all who see it; and it is supported by many ornamental columns of variegated marble, antique and rare. The other loggia is on the ground-floor of his house on the bridge, and is covered with scenes in fresco. And after that I painted for the ceiling of an antechamber four large pictures in oils of the four Seasons of the year. These finished, I was forced to make for Andrea della Fonte, who was much my friend, a portrait from life of his wife, and with it I gave him a large picture of Christ bearing the Cross, with figures the size of life, which I had made for a kinsman of the Pope, but afterwards had not chosen to present to him. For the Bishop of Vasona I painted a Dead Christ supported by Nicodemus and by two Angels, and for Pier Antonio Bandini a Nativity of Christ, an effect of night with variety in the invention.
While I was executing these works, I was also watching to see what the Pope was intending to do, and finally I saw that there was little to be expected from him, and that it was useless to labour in his service. Wherefore, notwithstanding that I had already executed the cartoons for painting in fresco the loggia that is over the fountain of the above-named Vigna, I resolved that I would at all costs go to serve the Duke of Florence, and the rather because I was pressed to do this by M. Averardo Serristori and Bishop Ricasoli, the Ambassadors of his Excellency in Rome, and also in letters by M. Sforza Almeni, his Cupbearer and Chief Chamberlain. I transferred myself, therefore, to Arezzo, in order to make my way from there to Florence, but first I was forced to make for Monsignor Minerbetti, Bishop of Arezzo, as for my lord and most dear friend, a lifesize picture of Patience in the form that has since been used by Signor Ercole, Duke of Ferrara, as his device and as the reverse of his medal. Which work finished, I came to kiss the hand of the Lord Duke Cosimo, by whom in his kindness I was received very warmly; and while it was being considered what I should first take in hand, I caused Cristofano Gherardi of the Borgo to paint in chiaroscuro after my designs the façade of M. Sforza Almeni, in that manner and with those inventions that have been described at great length in another place. Now at that time I happened to be one of the Lords Priors of the city of Arezzo, whose office it is to govern that city, but I was summoned by letters of the Lord Duke into his service, and absolved from that duty; and, having come to Florence, I found that his Excellency had begun that year to build that apartment of his Palace which is towards the Piazza del Grano, under the direction of the wood-carver Tasso, who was then architect to the Palace. The roof had been placed so low that all those rooms had little elevation, and were, indeed, altogether dwarfed; but, since to raise the crossbeams and the whole roof would be a long affair, I advised that a series of timbers should be placed, by way of border, with sunk compartments two braccia and a half in extent, between the crossbeams of the roof, with a range of consoles in the perpendicular line, so as to make a frieze of about two braccia above the timbers. Which plan greatly pleasing his Excellency, he gave orders straightway that so it should be done, and that Tasso should execute the woodwork and the compartments, within which was to be painted the Genealogy of the Gods; and that afterwards the work should be continued in the other rooms.
