same church, both of which are exceedingly beautiful;[1] he also executed two others in that building, one of these represents the Saviour expelling the buyers and sellers from the Temple, the other exhibits the story of the woman taken in adultery, and the whole of these works are deservedly held to be truly excellent and admirable.[2]
So fully were the many good qualities, the talents, and the labours of the Prior Guglielmo appreciated by the people of Arezzo, and with so many praises, caresses, and rewards were they acknowledged, that the master was with reason entirely satisfied and content, insomuch that he finally formed the resolution of adopting that city as his home, and from a Frenchman as he had originally been, he determined to become an Aretine.
At a later period, considering within himself that the art of painting on glass could not secure a long duration to the works of those who attach themselves thereto, seeing that they are perpetually liable to destruction, Guglielmo conceived the desire of devoting himself to painting generally, and accordingly accepted a commission from the superintendents of works to the Episcopal church of Arezzo for the decoration in fresco of three very large vaultings, these being labours in which he hoped to leave an enduring memorial of his existence. When this undertaking was completed, the people of Arezzo presented the master with a small estate which had belonged to the confraternity of Santa Maria della Misericordia; it was situated near the town and was the site of several very good houses, this they desired that he should enjoy for the remainder of his life. They further decreed, that the work, on being finished, should be estimated by an artist of due distinction, and that the superintendents of the Cathedral should then make over to Guglielmo the full sum thus awarded.[3]
In this work the Prior was desirous of showing what he could do, and resolved to have the pictures of very large size
- ↑ The Chapel of the Baptistry is now on this site, and the works of the Prior are no longer to be seen.—Ed. Flor. 1832 -8.
- ↑ These works still maintain their place.—Ibid.
- ↑ This occurred in the year 1524, and the Prior received four hundred ducats for two of these vaulted ceilings, according to the estimation of Ridolfo Ghirlandajo. See Gaye, Carteggio Inedito d’Artisti, p. 450.
