WHEN the King had seen this model, it restored him to cheerfulness, and
distracted his mind from the fatiguing debates he had been holding
during the past two hours. Seeing him cheerful as I wished, I uncovered
the other model, which he was far from expecting, since he not
unreasonably judged that the first had work in it enough. This one was a
little higher than two cubits; it figured a fountain shaped in a perfect
square, with handsome steps all round, intersecting each other in a way
which was unknown in France, and is indeed very uncommon in Italy. In
the middle of the fountain I set a pedestal, projecting somewhat above
the margin of the basin, and upon this a nude male figure, of the right
proportion to the whole design, and of a very graceful form. In his
right hand he raised a broken lance on high; his left hand rested on a
scimitar; he was poised upon the left foot, the right being supported by
a helmet of the richest imaginable workmanship. At each of the four
angles of the fountain a figure was sitting, raised above the level of
the base, and accompanied by many beautiful and appropriate emblems.
The King began by asking me what I meant to represent by the fine fancy
I had embodied in this design, saying that he had understood the door
without explanation, but that he could not take the conception of my
fountain, although it seemed to him most beautiful; at the same time, he
knew well that I was not like those foolish folk who turn out something
with a kind of grace, but put no intention into their performances. I
then addressed myself to the task of exposition; for having succeeded in
pleasing him with my work, I wanted him to be no less pleased with my
discourse. “Let me inform your sacred Majesty,” I thus began, “that the
whole of this model is so exactly made to scale, that if it should come
to being executed in the large, none of its grace and lightness will be
sacrificed. The figure in the middle is meant to stand fifty-four feet
above the level of the ground.” At this announcement the King made a
sign of surprise. “It is, moreover, intended to represent the god Mars.
The other figures embody those arts and sciences in which your Majesty
takes pleasure, and which you so generously patronise. This one, upon
the right hand, is designed for Learning; you will observe that the
accompanying emblems indicate Philosophy, and her attendant branches of
knowledge. By the next I wished to personify the whole Art of Design,
including Sculpture, Painting, and Architecture. The third is Music,
which cannot be omitted from the sphere of intellectual culture. That
other, with so gracious and benign a mien, stands for Generosity,
lacking which the mental gifts bestowed on us by God will not be brought
to view. I have attempted to portray your Majesty, your very self, in
the great central statue; for you are truly a god Mars, the only brave
upon this globe, and all your bravery you use with justice and with
piety in the defence of your own glory.” Scarcely had he allowed me to
finish this oration, when he broke forth with a strong voice: “Verily I
have found a man here after my own heart.” Then he called the treasurers
who were appointed for my supplies, and told them to disburse whatever I
required, let the cost be what it might. Next, he laid his hand upon my
shoulder, saying: '“Mon ami' (which is the same as 'my friend'), I know
not whether the pleasure be greater for the prince who finds a man after
his own heart, or for the artist who finds a prince willing to furnish
him with means for carrying out his great ideas.” I answered that, if I
was really the man his Majesty described, my good fortune was by far the
greater. He answered laughingly: “Let us agree, then, that our luck is
equal!” Then I departed in the highest spirits, and went back to my work.