Lives of the Most Eminent Painters, Sculptors and Architects - All 10 Volumes. Giorgio Vasari
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Saints, he made a Madonna, and the said Saints with the instruments of those trades in their hands, and below, also in fresco, two scenes of their acts, and the Saints being beheaded and thrown into the sea. In this work there are very beautiful attitudes and efforts in the figures that are raising those bodies, placed in sacks, on their shoulders, in order to carry them to the sea, for there are seen in them liveliness and vivacity. In S. Domenico, also, near the high-altar, on the right-hand wall, he painted in fresco a Madonna, S. Anthony, and S. Nicholas, for the family of the Alberti da Catenaia, of which place they were the Lords before its destruction, when they came to dwell, some in Arezzo and some in Florence. And that they are one and the same family is shown by the arms of both one and the other, which are the same; although it is true that to-day those of Arezzo are called, not "Degli Alberti," but "Da Catenaia," and those of Florence not "Da Catenaia," but "Degli Alberti." And I remember to have seen, and also read, that the Abbey of the Sasso—which was in the mountains of Catenaia, and which has now been pulled down and rebuilt lower down towards the Arno—was erected by the same Alberti for the Congregation of Camaldoli; and to-day it belongs to the Monastery of the Angeli in Florence, which acknowledges it as coming from the said family, which is among the noblest in Florence.
In the old Audience Chamber of the Fraternity of S. Maria della Misericordia, Parri painted a Madonna who has under her mantle the people of Arezzo, wherein he portrayed from the life those who then ruled that holy place, clothed according to the use of those times; and among them one called Braccio, who is now called, when there is talk of him, Lazzaro Ricco, and who died in the year 1422, leaving all his riches and means to that place, which dispenses them in the service of God's poor, performing the holy works of mercy with much charity. On one side of this Madonna is S. Gregory the Pope, and on the other S. Donatus, Bishop and Protector of the people of Arezzo. And since those who then ruled that Fraternity had been very well served in this work by Parri, they caused him to make on a panel, in distemper, a Madonna with the Child in her arms, with some angels who are opening her mantle, beneath which is the said people; with S. Laurentino and S. Pergentino, the martyrs, below. This panel is brought out every year on the second day of June, and, after it has been borne in solemn procession by the men of the said Company as far as the church of the said Saints, there is placed over it a coffer of silver, wrought by the goldsmith Forzore, brother of Parri, within which are the bodies of the said SS. Laurentino and Pergentino; it is brought out, I say, and the said altar is made under covering of a tent in the Canto alla Croce, where the said church stands, because, being a small church, it would not hold all the people who assemble for this festival. The predella whereon the said panel rests contains the martyrdom of those two Saints, made with little figures, and so well wrought, that for a small work it is truly a marvel. In Borgo Piano, under the projection of a house, there is a shrine by the hand of Parri, within which is an Annunciation in fresco, which is much extolled; and in S. Agostino, for the Company of the Puraccioli, he made in fresco a very beautiful picture of S. Catherine, virgin and martyr. In the Church of Muriello, likewise, for the Fraternity of the Clerks, he painted a S. Mary Magdalene, three braccia high; and in S. Domenico, at the entrance of the door, where the bell-ropes are, he painted in fresco the Chapel of S. Niccolò, making therein a large Crucifix with four figures, so well wrought that it seems made only yesterday. In the arch he painted two stories of S. Nicholas—namely, his throwing the golden balls to the maidens, and his delivering two from death, while the executioner is seen apparelled and ready to cut off their heads, and very well wrought.
The while that Parri was making this work, he was set upon with weapons by some of his relatives, with whom he had a dispute about some dowry; but, since some other men ran up immediately, he was succoured in a manner that they did him no harm. But nevertheless, so it is said, the fright that he experienced brought it about that, besides making his figures bending over to one side, from that day onward he made them almost always with an expression of terror. And since he found himself many times attacked by slanderous tongues and torn by the tooth of envy, he made in that chapel a scene of tongues burning, with some devils round them that were heaping them with fire; and in the sky was Christ cursing them, and on one side these words: "To the false tongue."
Parri was very studious in the matters of art, and drew very well, as it is shown by many drawings by his hand, which I have seen, and in particular by a border of twenty scenes from the life of S. Donatus, made for a sister of his own, who embroidered very well; and this he is reputed to have done because there was a question of making adornments for the high-altar of the Vescovado. And in our book there are some drawings by his hand, done very well with the pen. Parri was portrayed by Marco da Montepulciano, a disciple of Spinello, in the cloister of S. Bernardo in Arezzo. He lived fifty-six years, and he shortened his life by reason of being by nature melancholic, solitary, and too assiduous in the studies of his art and in his labours. He was buried in S. Agostino, in the same tomb wherein his father Spinello had been laid, and his death caused displeasure to all the men of culture who knew him.
MASACCIO
LIFE OF MASACCIO
PAINTER OF SAN GIOVANNI IN VALDARNO
It is the custom of nature, when she makes a man very excellent in any profession, very often not to make him alone, but at the same time, and in the same neighbourhood, to make another to compete with him, to the end that they may assist each other by their talent and emulation; which circumstance, besides the singular advantage enjoyed by the men themselves, who thus compete with each other, also kindles beyond measure the minds of those who come after that age, to strive with all study and all industry to attain to that honour and that glorious reputation which they hear highly extolled without ceasing in those who have passed away. And that this is true we see from the fact that Florence produced in one and the same age Filippo, Donato, Lorenzo, Paolo Uccello, and Masaccio, each most excellent in his own kind, and thus not only swept away the rough and rude manners that had prevailed up to that time, but incited and kindled so greatly, by reason of the beautiful works of these men, the minds of those who came after, that the work of those professions has been brought to that grandeur and to that perfection which are seen in our own times. Wherefore, in truth, we owe a great obligation to those early craftsmen who showed to us, by means of their labours, the true way to climb to the greatest height; and with regard to the good manner of painting, we are indebted above all to Masaccio, seeing that he, as one desirous of acquiring fame, perceived that painting is nothing but the counterfeiting of all the things of nature, vividly and simply, with drawing and with colours, even as she produced them for us, and that he who attains to this most perfectly can be called excellent. This truth, I say, being recognized by Masaccio, brought it about that by means of continuous study he learnt so much that he can be numbered among the first who cleared away, in a great measure, the hardness, the imperfections, and the difficulties of the art, and that he gave a beginning to beautiful attitudes, movements, liveliness, and vivacity, and to a certain relief truly characteristic and natural; which no painter up to his time had ever done. And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening. And although Paolo Uccello had tried his hand at this, and had done something, solving this difficulty to some extent, yet Masaccio, introducing many new methods, made foreshortenings from every point of view much better than any other who had lived up to that time. And he painted his works with good unity and softness, harmonizing the flesh-colours of the heads and of the nudes with the colours of the draperies, which he delighted to make with few folds and simple, as they are in life and nature. This has been of great use to craftsmen, and he deserves therefore to be commended as if he had been its inventor, for in truth the works made before his day can be said to be painted, while his are living, real, and natural, in comparison with those made by the others.