Zelotti having received a commission at Vicenza, Paolo decided to seek his fortune in Venice. The Prior of the Convent of San Sebastiano, on the Zattere, was a Veronese, and Caliari wrote to him before arriving in Venice in 1555. Thanks to the good Prior, who played a considerable part in his destiny, he obtained a commission for a "Coronation of the Virgin and four other Saints." He first painted the sacristy, but his success was instantaneous, and many orders followed. The ceiling of the church was devoted to the history of Esther. The whole of these paintings are marvellously well preserved, and, inset in the carved and gilt framework, make a _coup d'oeil_ of surprising beauty. They had an immense effect. Every one was able to appreciate these joyous pictures of Venice, the loveliness of her skies, the pomp of her ceremonies, the rich Eastern stuffs and the glorious architecture of her palaces. It was an auspicious moment for a painter of Veronese's temper; the so-called Republic, now, more than ever, an oligarchy, was at the height of its fortunes, redecorating was going forward everywhere, the merchant-nobility was rich and spending magnificently, the Eastern trade was flourishing, Venice was in all her glory. The patrons Caliari came to work for, preferred the ceremonial to the imaginative treatment of sacred themes, and he does not choose the tragedies of the Bible for illustration. He paints the history of Esther, with its royal audiences, banquets, and marriage-feasts. His Christs and Maries and Martyrs are composed, courtly personages, who maintain a dignified calm under misfortune, and have very little violent feeling to show.