Lives of the Most Excellent Painters, Sculptors, and Architects/Parri Spinelli

by Giorgio Vasari

 

PARRI SPINELLI, PAINTER, OF AREZZO.

[born....-was living in 1444.]

The Aretine painter, Parri di Spinello Spinelli,^[1] acquired the first principles of his art under the discipline of his father;^[2] but being taken to Florence by Messer Messer Leonardo Bruni of Arezzo,^[3] was there received into the school of Lorenzo Ghiberti, where many young men were studying under the care of that great master. At that time the doors of San Giovanni were in process of completion, and on the figures of this work Parri di Spinello was employed, as we have before said, with many others. While thus occupied, he contracted an intimacy with Masolino di Panicale, whose mode of drawing pleased Spinelli so much, that he took pains to imitate him in many respects, as he did also the manner of Don Lorenzo degli Angeli in certain others.

The figures of Parri Spinelli are more slender than those of any painter who preceded him; he also gave them much greater length, insomuch that where other masters gave the proportion of ten heads only, Parri gave eleven, and sometimes even twelve: nor are they in the slightest degree ungraceful on that account; slight and flexible, they are always bending either to the right or left, from which circumstance, as it appeared to him, and as he sometimes said, they derive an air of life and spirit. This master painted his draperies very delicately; the folds are rich, and they fall gracefully from the shoulders of his figures to the feet, with good effect. Parri worked extremely well in distemper, but in fresco his colouring is perfect; and he was the first who, in fresco painting, omitted those greenish tints beneath the carnations, which were afterwards painted over with flesh colours in chiaro-scuro, after the manner of paintings in water colours, as had been the custom with Giotto and the other old masters. Parri, on the contrary, used body colours, which he applied with the nicest caution, as his judgment dictated their places; the lights, that is to say, on the points most in relief; the middle tints in their due positions; and the darks towards the outline. By this mode of treatment his works were produced with greater facility, and a longer duration was secured to his paintings in fresco. Having laid the colours in their places, he afterwards harmonized and blended them with a large soft brush; and this he did with so much delicacy that nothing better can be desired, and certainly his colouring has no equal.

When Parri had been absent many years from his native city, he was recalled to Arezzo by his relations, on the death of his father; and there, among many works which it would occupy too much of our time to describe, he executed some that we must by no means pass over in silence. To these belong the three figures of the Virgin, each differing from the other, which he painted in fresco in the Duomo Vecchio, as also does the story of the Beato Tommasuolo, a confessor and hermit of that time, and a man of very holy life, which he painted in fresco within the principal door of the same church. It was the custom of this holy person to carry in his hand a mirror, within which he beheld, as he affirmed, the Passion of Christ. The master has therefore represented the Beato kneeling, with the mirror, which he raises towards heaven, in his right hand; while amidst the clouds above is Jesus Christ enthroned, with all the mysteries of the Passion around him; all which, with the most admirable art, he has given reflected in that mirror with such perfection that not the Beato Tommasuolo only, but all who look at the picture may behold them clearly. This was, without doubt, an extraordinary and difficult invention, and so admirably well executed, that many succeeding artists have been taught by it to produce various effects, and paint many subjects by means of a mirror.^[4] And, since we are speaking on this subject, I will not omit to mention a certain action of this holy man performed in the above-named city of Arezzo. Occupied with perpetual efforts to persuade the Aretines to live in peace with each other, he preached to them without ceasing on that subject, sometimes predicting to them the various misfortunes that could not fail to result from their discords. Perceiving at length that he wasted his time, the said Beato one day entered the palace, where the council of sixty was accustomed to assemble, and finding them, as usual, in those deliberations with which he saw them daily occupied, although they never resolved on any thing that was not to the injury of the city, Tommasuolo waited until the whole council had assembled, when he gathered a vast mass of burning brands into the folds of his vestment, and entering the hall wherein the sixty, with all the other magistrates of the city were seated, he threw the whole among their feet, boldly exclaiming “Look to yourselves, rulers of Arezzo; the fire is among you; beware of your ruin;” this said, he departed. But such was the effect of his simplicity and zeal that, as it pleased God, these words and this action of the holy man accomplished what all his preachings and threatenings had hitherto failed to do; insomuch that the counsellors becoming thenceforward more united in purpose, ruled the city for many years in great concord, to the peace and quiet of the whole community.

But to return to Parri Spinelli: having completed the frescoes of the Duomo Vecchio, he painted a chapel, in fresco, in the church belonging to the hospital of San Cristofano, beside the Brotherhood of the Annunciation. This work was executed at the cost of Mona Mattea dei Testi, wife of Carcascion Florinaldi, who left a very handsome revenue to that little church: the subject is Christ crucified;^[5] while around and above are many angels hovering about in the darkened air, and weeping bitterly. At the foot of the cross, on one side, are seen Mary Magdalene and the other Maries, who hold the fainting Mother of Jesus in their arms, with San Jacopo and San Cristofano, on the other side. On the walls around, Spinelli depicted Santa Caterina, San Niccolo, the Annunciation, and Jesus Christ bound to the column; and in the arch above the door of the same church was a Dead Christ, with Our Lady and St. John: but the paintings of the chapel are ruined, and those over the door of the church were destroyed when the door was replaced by one of modern workmanship, in macigno, the revenues of the brotherhood being alienated at the same time, to establish a convent of one hundred nuns. Now for this convent Giorgio Vasari had made a well and carefully constructed model; but it was afterwards altered, or rather transformed into a miserable failure, by those who most unworthily received charge of the building. For it often happens that one stumbles upon crafty or conceited men, who are for the most part thoroughly ignorant, but who give themselves airs of pretence, and arrogantly presume to attempt the erection or superintendence of buildings, thereby frequently ruining the arrangements, and spoiling the models of men who have consumed their lives in the study and practice of the art, and who are fully capable of constructing judiciously such works as they undertake. These things occur, to the serious injury of posterity, which is thus deprived of the utility, convenience, beauty, and grandeur proper to all important fabrics, but more especially requisite to those which are to be used for the public service.

Parri Spinelli worked also in the church of San Bernardo, a monastery of the monks of Monte Oliveto, where he painted two chapels, being those immediately within the principal door, and standing one on each side of it. In that on the right hand, and which is dedicated to the Holy Trinity, the master painted a group, representing God the Father, who supports the body of Christ crucified in his arms; and above this is the Holy Spirit in the form of a dove, surrounded by a choir of angels. On one of the walls of the same chapel he also painted figures of saints, in fresco, which are admirably done. The second chapel is dedicated to Our Lady, and here Spinelli has represented the Nativity of Christ, wherein are certain women who wash the Divine infant in a little wooden vessel; and in depicting this circumstance the artist has pourtrayed the figures with a feminine grace of action which is charming. There are also numerous shepherds in the distance, guarding their flocks: they are clothed in the rustic habiliments proper to that time, are full of life, and listen with the utmost attention to the words of the angel, who is commanding them to repair to Nazareth. On the opposite wall is the Adoration of the Magi; and here are depicted carriages of various kinds, with camels, giraffes, and all the camp and followers of those three kings; the latter, reverently offering their treasures, adore the infant Christ, who is on the lap of his mother. In addition to these pictures, our artist painted several others, in fresco, on the ceiling, and other parts of the church.^[6]

We find it related that when Parri Spinelli was occupied with these works, Fra Bernardino da Siena, a monk of the order of St. Francis, and a man of holy life, was preaching in Arezzo, and having induced many of his brother monks to devote themselves truly to the practices of religion, and converted many other persons, caused Parri^[7] to prepare the model of a church which he was constructing for these his converts; after which, having heard that many disorders and evil deeds were committed near a fountain situated in a wood about a mile from the city, San Bernardino proceeded thither one morning, followed by the whole assembled people of Arezzo, and bearing a large wooden cross in his hand, which it was his habit to carry. Here, after having preached a solemn discourse, San Bernardino caused the fountain to be demolished, and the wood to be cut down. Shortly afterwards he kid the foundation of a small chapel in honour of Our Lady, with the title of Santa Maria delle Grazie^[8] and in this he commissioned Parri Spinelli to paint the glorious Virgin, who, opening her arms, covers with her mantle the whole people of Arezzo. This work the master accomplished, and that most Holy Virgin has since worked, and continues to work, many miracles in that place. At a later period the people of Arezzo caused a most magnificent church to be erected on this site, and in the midst of the building is placed the figure of the Virgin executed by Parri;^[9] while for this work many rich decorations in marble, with numerous figures around and upon the altar, have been made, as has been related in the life of Luca della Robbia, and of his nephew Andrea, and as will be further set forth in the lives of those who from time to time have adorned that holy place with their works. Some short time after, Parri di Spinello, moved by the great veneration which he bore to the holy man San Bernardino, pourtrayed that saint, in fresco, on one of the. large pillars of the Duomo Vecchio; and in the same place, in a chapel dedicated to San Bernardino,^[10] he painted that holy person glorified in heaven, and surrounded by a vast concourse of angels, with three half figures, one on each side, representing Patience and Poverty, and one above representing the figure of Chastity, three virtues with which that saint had held close companionship even to his death. Under the feet of San Bernardino were several bishops’ mitres and cardinals’ hats, to intimate the scorn in which the saint had held worldly things, and his contempt for such dignities. Beneath these pictures was the city of Arezzo, depicted as it appeared at that time. For the Brotherhood of the Annunciation, Parri painted, in fresco, in a little oratory or “maesta,”^[11] without the Duomo, Our Lady receiving the Annunciation from the angel: terrified by his approach, the Virgin turns away from the sacred messenger. In the centre of the ceiling, which is cross-vaulted, the master has painted angels, two in each angle; they hover in the air, and, sounding various instruments, one might almost believe one heard the soft harmony of the music. On the walls are four saints, two on each side. But the power possessed by this master of varying the expression of his conceptions is most vividly expressed in two pictures, one on each of the piers by which the arch, once the entrance to this tabernacle, is supported. These represent, on one side, a figure of Charity suckling one infant, with most affectionate expression, while she caresses a second, and holds a third by the hand. On the other side is Faith, depicted in a manner entirely new, having in one hand the chalice with the cross, and in the other a cup of cold water, which she pours on the head of a boy, thus rendering him a Christian. These figures are, without doubt, the best executed by Parri Spinelli in his whole life; and, even when compared with modern works, are considered wonderfully fine.^[12]

Within the city of Arezzo, and in the choir used by the monks in the church of Sant’ Agostino, this master painted various figures in fresco, which are known, by the manner of the draperies, and by those lengthened, slender, and bendingfigures described above, to be by the hand of Spinelli.^[13] In the church of San Giustino, he also painted a St. Martin on horseback, cutting off a portion of his vestments to bestow it on a beggar; with two other saints.^[14] In the Episcopal church of the same city, Parri depicted an Annunciation^[15] in fresco; this is now half ruined, the wall on which it was painted having been many years exposed to injury. In the capitular church of Arezzo, moreover, this master painted a chapel, that namely which is now near to the hall of the Intendants, and this also has been almost wholly^[16] destroyed by the humidity of the place. The misfortune of this poor painter, as regards the preservation of his works, has indeed been truly great, the larger part of them having been ruined by damp, or destroyed in the demolition of the buildings which they adorned. On a round column of the last-mentioned church, Spinelli painted a figure of San Vincenzio; and in the church of San Francesco, he pourtrayed certain saints around a Madonna, in mezzo-rilievo, for the Viviani family; in the arch above this work, he painted the Apostles receiving the Holy Spirit, with other saints in the ceiling, near which is a figure of Christ bearing his cross, and pouring blood from his side into a chalice. The figure of the Saviour is surrounded by angels, which are admirably done. Opposite to this picture, Spinelli painted one for the guild of the stonecutters, masons, and carpenters, in their chapel dedicated to the four Crowned Saints,^[17] and wherein he depicted Our Lady with the saints before-mentioned, who hold the instruments of the above-named trades in their hands. Beneath this and also in fresco are two stories from the lives of the same holy men, with others representing them when decapitated and thrown into the sea. There is great power and life in this work, with many beautiful attitudes, exhibited more especially in the figures of those who lift the bodies, placed in sacks, upon their shoulders, to carry them to the sea, all their movements displaying infinite truth and animation. In the church of San Domenico, on the wall to the right of the high altar, Parri Spinelli painted a figure of the Virgin, with Sant’ Antonio, and San Niccolo, in fresco, for the family of the Alberti of Catenaia,^nota of which place the Alberti were the lords until it was destroyed, when the family went to dwell, some in Arezzo, some in Florence. Now that those families settled in each city belong to one and the same house is demonstrated by the arms, which are the same for both. It is true that those of Arezzo are not called “degli Alberti,” but “da Catenaia,” and those of Florence not “da Catenaia,” but “degli Alberti.” I remember also to have heard and read that the abbey of the Sasso, in the mountains of the Catenaia, afterwards demolished and rebuilt lower down towards the Arno, was built by those same Alberti for the confraternity of the Camaldoline monks: this edifice is now in the possession of the monastery of the Angeli in Florence, who acknowledge it to be derived from that family, which is among the most noble in Florence. In the audience-chamber of the fraternity of Santa Maria della Misericordia,^nota this master depicted the Virgin, with the people of Arezzo sheltered beneath her mantle; and in this picture are the portraits of the men who were at that time administrators of that pious place, taken from the life, and clothed as was customary in that day. Among these figures, is that of a member of the fraternity called Braccio, but who is called rich Lazarus (Lazzaro Ricco) by those who speak of him now-a-days, and who died in the year 1422,^nota leaving all his riches and possessions to that institution which dispenses the same in the service of God’s poor, exercising the holy offices of mercy with true charity. On one side of this Madonna is the pontiff St. Gregory, and on the other is San Donato, bishop of Arezzo, and patron-saint of the Aretine people. Now the rulers for the time of that ^{[18] [19] [20]} brotherhood considered themselves to have been very well served by Parri, in respect of this work, they therefore caused him to paint a picture in distemper, representing Our Lady with the divine child in her arms, while certain angels hold back her mantle, beneath which are the people of Arezzo; with the martyrs San Laurentino and San Pergentino below. This picture is carried forth every year on the second day of June,^[21] and is borne in solemn procession by the brotherhood of the Misericordia, to the church dedicated to those saints; there is then placed on it a casket of silver, made by the goldsmith Forzore,^[22] the brother of Parri, and within which are the bodies of the above-named saints, Laurentino and Pergentino; it is carried forth, I say, and an altar is erected under covering of a tent, beside the cross near which the said church stands, because the church itself being small, could not contain the concourse of people which assembles for this festival. On the predella on which the aforesaid picture is placed, the martyrdom of those two saints is depicted in very minute figures, so admirably done, that, for so small a thing, it is almost miraculous. Under the balcony of a house in the Borgo-a -Piano is a tabernacle, within which is an Annunciation, in fresco, from the hand of Parri Spinelli, a work much commended. There is, moreover, a fresco of the virgin martyr St. Catherine, painted by this master for the Brotherhood of the Puraccioli, in the church of Sant’ Agostino, which is most beautiful. In the church of Muriello also he painted a Santa Maria Maddalena, three braccia high, for the Confraternity of the Clerks; and in the church of San Domenico, near that door of entrance where the bell-ropes are, Parri decorated the chapel of San Niccolo in fresco,^[23] painting therein a large crucifix, with four figures so admirably executed that they might be supposed to have been painted in our own day. Here also he represented stories from the life of San Niccolo; one pourtraying the Saint when he throws the golden balls to the virgins, and another showing the same holy man delivering 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.^[24]

1. Gasparri was the proper name of this artist.
2. Spinello Aretino. See his life, ante, p. 255.
3. The well-known historian and secretary of the Florentine republic.
4. All the fresco paintings of the Duomo Vecchio were destroyed, together with the cathedral itself, in the year 1561.
5. In San Cristofano—now the church of the Oblate of Santa Caterina, transferred thither two years since. The only work now remaining by Parri Spinelli, is that of the high altar, which represents Christ crucified, with angels weeping around, and the Maries at the foot of the cross. Beneath are the following wrords:—

   “hoc opus factum fu1t anno domini mccccxliv die iv mensis
   decembris.” —Ed. Flor. 1846-9.

6. No trace now remains of these paintings. —Ed. Flor. 1846-9.
7. The church of Sargiano, built by Parri, no longer exists as a church, having been annexed as a sacristy to the magnificent building now seen. The external walls remain, and shew the manner in which the church was decorated by Spinelli —Ed. Flor. 1846-9.
8. The convent of Santa Maria delle Grazie now belongs to the nuns of Santa Theresa. Parri’s Madonna is on the high-altar of the church.
9. This sacred image is still venerated as here described, but a restoration has totally changed its original form. — Ed. Flor. 1849.
10. When the Duomo was destroyed, this chapel was preserved, with the picture of Parri here alluded to. — Masselli.
11. The term “Maesti” is most commonly used in Italian to express the Virgin enthroned, but it is here synonymous with Tabernacle or Oratory: the work is still in existence, but in very grievous condition.
12. There are not four saints, but two; a St. Leonard, that is to say, and a St. Michael. The figures of Faith and Charity have been whitewashed. — Ed. Flor. 1846-9.
13. These pictures have long since perished. — Ibid.
14. This work also is lost. — Ed. Flor. 1832.
15. Of this work the angel only remained, even at the time of Bottari.— Ibid.
16. Masselli remarks, that it is now not only almost but entirely destroyed.
17. I quattro Santi Incoronati.
18. All the pictures here described appear to be lost.
19. This fresco is still in good condition, it is now in a hall used as a court of equity.
20. Bottari, quoting documents in support of his assertion, says that Lazzaro died in 1425. See ante note (f) p. 385.
21. Bottari corrects this date also, giving the 3rd of June instead of the 2nd, that being the festival of the saints in question; the picture is still well preserved in the chancellery of the fraternity.
22. A casket of modern workmanship now replaces that of Forzore, which is kept in the sacristy. — Bottari.
23. This work is still in existence, but has been retouched; those previously alluded to are lost.— Ibid.
24. 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.