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They were first printed in 1498, and went through a number of editions during the author's lifetime. As a young man and it is to his earlier years that the bulk of the eclogues must be attributed Spagnuoli was noted for the elegance of his Latin verse; but his facility led him into over-production, and Tiraboschi reports his later writings as absolutely unreadable.
Whatever may be ultimately thought about the question of their authorship and pictorial merit, their interest to the student of Italian painting in relation to mediaeval thought will always remain indisputable. Few buildings in the length and breadth of Italy possess such claims on our attention as the Cappella degli Spagnuoli.
Siena, Pisa, Assisi, Orvieto, Naples, and Avignon can still boast of wall and easel pictures from his hand; and though it has been suggested that he took no part in the decoration of the Cappella degli Spagnuoli, the impress of his manner remains at Florence in those noble frescoes of the "Church Militant" and the "Consecration of S. Dominic."
After this, Cardinal Alborense, wishing to leave a memorial of himself in the church of his nation, caused a chapel of marble, with a tomb for himself, to be erected and brought to completion by Antonio in S. Jacopo degli Spagnuoli; which chapel, as has been related, was all painted in the spaces between the pilasters by Pellegrino da Modena, and on the altar stood a most beautiful S. James of marble executed by Jacopo Sansovino.
On the other hand, to the allegorical pastoralists from Vergil to Spagnuoli, the shepherd-realm either reflects, or is made directly to contrast with, the interests and vices of the actual world; in their work the note of longing for escape to an ideal life is heard but faintly or not at all.
It was universally recognized in Italy that the sack of Rome was a punishment inflicted by Providence upon the godless city. Without quoting great authorities like Sadoleto or the Bishop of Fossombrone, one of whose letters gives a really awful picture of Roman profligacy (Opere di M.G. Guidiccioni, Barbera, vol. i. p. 193), we find abundant testimony to this persuasion regarding the intolerible vice of Rome, even in men devoid of moral conscience. Aretino (La Cortegiana, end of Act i. Sc. xxiii.) writes: 'Io mic redeva che il castigo, che l' ha dato Cristo per mano degli Spagnuoli, l'avesse fatta migliore, et è più scellerata che mai. Bandello (Novelle, Parte ii. xxxvii.) alluding to the sack, remarks in a parenthesis, 'benche i peccati di quella citt
For that reason, therefore, attending under that Pontiff to works of no great importance, Antonio restored the aisles of the Church of S. Jacopo degli Spagnuoli, and furnished the façade with most beautiful windows.
Distribution of Artistic Gifts in Italy Florence and Venice Classification by Schools Stages in the Evolution of Painting Cimabue The Rucellai Madonna Giotto His widespread Activity The Scope of his Art Vitality Composition Colour Naturalism Healthiness Frescoes at Assisi and Padua Legend of S. Francis The Giotteschi Pictures of the Last Judgment Orcagna in the Strozzi Chapel Ambrogio Lorenzetti at Pisa Dogmatic Theology Cappella degli Spagnuoli Traini's "Triumph, of S. Thomas Aquinas" Political Doctrine expressed in Fresco Sala della Pace at Siena Religious Art in Siena and Perugia The Relation of the Giottesque Painters to the Renaissance.
For a moment in that silent place you wonder why you have come, you feel half inclined to go back into the church, when shyly the friar comes towards you, and, leading you round the cloister, enters the Cappellina degli Spagnuoli.
He says, after speaking of marooning in Hayti, "Vi sono molti Spagnuoli che tengono per cosa certa che quest' Isola in breve tempo sara posseduta da questi Mori. Et per tanto gli governatori tengono grandissima vigilanza" etc.: "There are many Spaniards who hold it for certain that in a brief time this island will fall into the hands of the Africans.
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