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The same Jacopo, together with Aldigieri and Sebeto da Verona, painted the Chapel of S. Giorgio, which is beside the Church of S. Antonio, in Padua, according to the directions left in the testaments of the Marquesses of Carrara. Jacopo Avanzi painted the upper part; below this were certain stories of S. Lucia, with a Last Supper, by Aldigieri; and Sebeto painted stories of S. John.
About a fortnight before the murder this sort of partnership was dissolved at the proposal of Simonetti, and some days after Avanzi made a claim on his late partner for the price of two pounds of hemp not accounted for.
Nicolo Avanzi is reported as having carved a lapis lazuli "three fingers broad" into the scene of the Nativity. Matteo dal Nassaro, a son of a shoemaker in Verona, developed extraordinary talent in gem cutting.
Jacopo Avanzi, a painter of Bologna, shared the work of this hall with Aldigieri, and below the aforesaid pictures he painted two most beautiful Triumphs, likewise in fresco, with so much art and so good a manner, that Girolamo Campagnola declares that Mantegna used to praise them as pictures of the rarest merit.
"Godi, Fiorenza poi che sei si grande Che per mare, e per terra batti l'ali, E per l'Inferno il tuo nome si spande," it is not wonderful that Pistoja is lost in his scorn. Coming upon Vanni Fucci continually consumed by the adder, he hears him say "Ahi Pistoja, Pistoja, chè non stanzi D'incenerarti, si che più non duri Poi che in mal far lo seme tuo avanzi?"
There seems to have been no particular dispute about this, but on the morning of the murder, Simonetti was summoned before the overseer of the factory, on the ground of his refusal to pay the sum claimed by Avanzi of fifteen baiocchi, or seven pence halfpenny. Simonetti did not deny that Avanzi had some claim upon him, but disputed the amount.
Now the work of Jacopo Avanzi was held to be the best of all; but, since mention has been made of him in the Life of Niccolò d' Arezzo by reason of the works that he made in Bologna in competition with the painters Simone, Cristofano, and Galasso, I will say no more about him in this place.
An hour and a half after, while Avanzi was sitting at his frame, with his face to the wall, Simonetti entered the room with an axe he had picked up in the carpenter's store, and walking deliberately up to Avanzi, struck him with the axe across the neck, as he was stooping down. Almost immediate death ensued, and on the arrival of the guard, Simonetti was arrested at once, and placed in irons.
Of Avanzi nothing is mentioned, except that he was an elderly man condemned to a lengthened term of imprisonment for heavy crimes. Prisoners, it seems, condemned for long periods, are not sent out of doors to labour at the public works, but are employed within the prison.
On all these grounds, whether abstract or matter-of-fact, the court declares the prisoner guilty of the wilful murder of Avanzi, and sentences him to death. On the morrow this sentence is conveyed to Simonetti, who appeals. With considerable expedition the Supreme Tribunal meet to hear the case on the 23rd of September.
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