DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0416
400
LIVES OF THE ARTISTS.
livering two of them from death: the executioner is seen
standing prepared to take off their heads, and is extremely
well done. While Parri was occupied with this work, he
was assailed by some of his kindred, with whom he was at
strife, for a matter relating to some dowry, of which I know
not the exact particulars; these men fell upon him with arms
in their hands, and although Spinelli was saved from injury
by some who hastened immediately to his assistance, the fear
he suffered was nevertheless so great that he is said to have
painted his figures thenceforward, not only bending towards
one side, but with the expression of terror in their faces.
Finding himself, moreover, to be frequently wounded by evil
speakers and the attacks of envy, Spinelli painted a picture
in that chapel representing tongues burning, and devils around
them maintaining the fires. In the air above was a figure of
Christ uttering maledictions on them, and on one side were in-
scribed the following words, “ The lot of the false tongue.”
Parri Spinelli was a zealous student of art, and drew ad-
mirably well, as many things that I have seen by his hand
sufficiently prove, more especially a series of stories repre-
senting scenes from the life of San Donato, which Parri had
drawn for one of his sisters, who was an excellent embroide-
ress. This work is believed to have been intended for the
decorations which it is supposed were to be embroidered by
her for the high altar of the episcopal church. There are
also some drawings in pen and ink by this artist among the
collection in our book, which are very well done. The por-
trait of Parri Spinelli was painted in the cloister of San
Bernardo d’Arezzo, by Marco da Montepulciano, a disciple
of Spinello Spinelli. Parri lived fifty-six years, but his life
was shortened by the melancholy of his temperament, his
solitary habits, the too rigid severity of his labours, and over
earnest devotion to the studies connected with his art. He
was buried in Sant’ Agostino, where he was placed in the
same grave with his father Spinello, and his death was a
cause of regret to all the distinguished men to whom he 'was
known.*
* In the first edition of Vasari, the following lines are given as the
epitaph of Parri Spinelli;—
Progenuit Paridem pictor Spinellus, et artem,
Sectari patriam maxima cura fuit
Utpatrem ingenio et manibus superavit, ab illo
Extant qua? mire plurima picta docent.
LIVES OF THE ARTISTS.
livering two of them from death: the executioner is seen
standing prepared to take off their heads, and is extremely
well done. While Parri was occupied with this work, he
was assailed by some of his kindred, with whom he was at
strife, for a matter relating to some dowry, of which I know
not the exact particulars; these men fell upon him with arms
in their hands, and although Spinelli was saved from injury
by some who hastened immediately to his assistance, the fear
he suffered was nevertheless so great that he is said to have
painted his figures thenceforward, not only bending towards
one side, but with the expression of terror in their faces.
Finding himself, moreover, to be frequently wounded by evil
speakers and the attacks of envy, Spinelli painted a picture
in that chapel representing tongues burning, and devils around
them maintaining the fires. In the air above was a figure of
Christ uttering maledictions on them, and on one side were in-
scribed the following words, “ The lot of the false tongue.”
Parri Spinelli was a zealous student of art, and drew ad-
mirably well, as many things that I have seen by his hand
sufficiently prove, more especially a series of stories repre-
senting scenes from the life of San Donato, which Parri had
drawn for one of his sisters, who was an excellent embroide-
ress. This work is believed to have been intended for the
decorations which it is supposed were to be embroidered by
her for the high altar of the episcopal church. There are
also some drawings in pen and ink by this artist among the
collection in our book, which are very well done. The por-
trait of Parri Spinelli was painted in the cloister of San
Bernardo d’Arezzo, by Marco da Montepulciano, a disciple
of Spinello Spinelli. Parri lived fifty-six years, but his life
was shortened by the melancholy of his temperament, his
solitary habits, the too rigid severity of his labours, and over
earnest devotion to the studies connected with his art. He
was buried in Sant’ Agostino, where he was placed in the
same grave with his father Spinello, and his death was a
cause of regret to all the distinguished men to whom he 'was
known.*
* In the first edition of Vasari, the following lines are given as the
epitaph of Parri Spinelli;—
Progenuit Paridem pictor Spinellus, et artem,
Sectari patriam maxima cura fuit
Utpatrem ingenio et manibus superavit, ab illo
Extant qua? mire plurima picta docent.