attendants who
waited upon me, the dispenser, the cellarer, and others of the kind; and
so, also, the Abbot Serragli, the General Don Cipriano da Verona, and
Bentivoglio. In like manner, I copied the vestments of that Pontiff from
the reality, counterfeiting velvets, damasks, and other draperies of
silk and gold of every kind; but the service of the table, vases,
animals, and other things, I caused to be executed by Cristofano of the
Borgo, as was told in his Life. In the second scene I sought to make the
heads, draperies, and buildings not only different from the first, but
in such a manner as to make as clearly evident as possible the
lovingness of Christ in instructing the Magdalene, and the affection and
readiness of Martha in arranging the table, and her lamentation at being
left alone by her sister in such labours and service; to say nothing of
the attentiveness of the Apostles, and of many other things worthy of
consideration in that picture. As for the third scene, I painted the
three Angels--coming to do this I know not how--within a celestial light
which seems to radiate from them, while the rays of the sun surround the
cloud in which they are. Of the three Angels the old Abraham is adoring
one, although those that he sees are three; while Sarah stands laughing
and wondering how that can come to pass which has been promised to her,
and Hagar, with Ishmael in her arms, is departing from the hospitable
shelter. The same radiance also gives light to some servants who are
preparing the table, among whom are some who, not being able to endure
that splendour, place their hands over their eyes and seek to shade
themselves. Which variety of things, since strong shadows and brilliant
lights give greater force to pictures, caused this one to have more
relief than the other two, and, the colours being varied, they produced
a very different effect. But would I had been able to carry my
conception into execution, even as both then and afterwards, with new
inventions and fantasies, I was always seeking out the laborious and
difficult in art. This work, then, whatever it may be, was executed by
me in eight months, together with a frieze in fresco, architectural
ornaments, carvings, seat-backs, panels, and other adornments over the
whole work and the whole refectory; and the price of all I was content
to make two hundred crowns, as one who aspired more to glory than to
gain. Wherefore M. Andrea Alciati, my very dear friend, who