There are few painters of whose private life so little is known as of that of Veronese. The contemporary documents have disappeared and scarcely anything more remains than a few of his letters; and even those are silent as to his day-by-day existence. All that it is possible to know--and to this his paintings abundantly bear witness--is that he was possessed of an agreeable humour, and a pleasing personality;--worthy gentleman, somewhat quick of temper and permitting no slight to be put upon his dignity, still less upon his honour. He was neither a sycophant nor a courtier, accepting commissions but never soliciting them. His "disinterestedness," writes Charles Yriarte, "has remained celebrated; during one entire period of his life, the greater part of the contracts which he signed with communities and with convents stipulate barely the value of his time as a remuneration for his work. This was before the time when painters were expected to furnish their colours and their canvases, but demanded only the price of their toil. Later on, having become, if not rich--that he never was,--at least celebrated and independent, he acquired a taste for personal luxury; he delighted in brilliant fabrics and wore them with ostentation; he loved horses, dogs, and hunting; he frequented high society, and brought to it that Italian open-heartedness which makes the company of the illustrious a relaxation and a pleasure rather than an embarrassment or an effort. He won valuable friendships and was able to retain them until his death." Of these friendships, the most efficacious was that of the Prior of the convent of San Sebastiano, Bernardo Torlioni, a Veronese by birth, to whom he had brought letters of introduction. No sooner had young Caliari arrived in Venice at the beginning of 1555, than he presented himself to his venerable compatriot, who promptly took a fancy to him, and bestirred himself to serve him. Thanks to Torlioni, Paolo obtained an order for five pictures, including one large composition, the _Coronation of the Virgin_ and four dependent panels. These paintings were destined to adorn the sacristy of the church of San Sebastiano, of which Bernardo Torlioni was prior. When the work was done, the Chapter expressed itself as so well pleased that it entrusted him with the decoration of the church itself, including the ceiling. It was here that Veronese painted his admirable series of episodes from the _History of Esther and Ahasuerus_.