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 inscribed the following words, “The lot of the false tongue.”
Parri Spinelli was a zealous student of art, and drew admirably well, as many things that I have seen by his hand sufficiently prove, more especially a series of stories representing scenes from the life of San Donato, which Parri had drawn for one of his sisters, who was an excellent embroideress. 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 portrait 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.[1]
- ↑ 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 qme mire plurima picta docent.
