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Updated: May 13, 2025
The Gaddi of Florence, Giottino, Puccio Capanna, the Lorenzetti of Siena, Spinello of Arezzo, Andrea Orcagna, Domenico Veneziano, and the lesser artists of the Pisan Campo Santo, were either formed or influenced by him.
In this work Spinello acquitted himself so well, both in the colouring and in the design, that up to our own day the colours had remained very well preserved and the excellence of the figures was clearly visible, when, a few years since, they were in great part spoilt by a fire that burst out unexpectedly in that church, which had been unwisely filled with straw by some foolish men who made use of it as a barn or storehouse for straw.
The figures seemed to grow to life of themselves under his hand. His success was beyond his fondest hopes; so hideous was the countenance of Lucifer, none could escape the nightmare of its foulness. The face haunted the painter in the streets and even went home with him to his lodging. Presently when night was come, Spinello lay down in his bed beside his wife and fell asleep.
They were grateful to him besides for having by his works spread the fame of their city over all Tuscany. For all these reasons they welcomed him with high honours on his return. Still full of vigour in his old age, he undertook important tasks in his native town. His wife would tell him: “You are rich, Spinello. Do you rest, and leave younger men to paint instead of you.
He bought a most beautiful farm, called Lo Spinello, on the heights of Fiesole, and another with a very beautiful house called Il Cantone, in the plain above San Salvi, on the River Affrico, and a great house in the Via de' Ginori, which he was enabled to acquire by the moneys and favours of the Duke.
You should wrong no one, not even the Devil. Cannot you see that you insult Him you make prayer to, when you give Him for adversary a vile, monstrous toad? Spinello, you are very ignorant for a man of your age. I have a great mind to pull your ears, as they do to an ill-conditioned schoolboy.”
Chiefly they reproached them with representing them under a hideous guise, with the heads of bird and fish, serpents' bodies and bats' wings. This sore resentment which they felt will come out plainly in the history of Spinello of Arezzo.
By degrees, however, as Spinello conversed with her, now of one trifle, then of another, her eyes involuntarily wandered to that portion of the room in which the young dialectician sat involved in shadow, and exerting all his eloquence and ingenuity to awaken her attention. The experiment succeeded.
The interior of San Miniato is now used as a kind of Campo Santo, and has frescoed walls and an exquisitely wrought screen and pulpit; there are also several paintings attributed to Spinello Aretino.
At this threat, and seeing the arm of Lucifer already stretched out towards him, Spinello clapped his hand to his head and began to howl with terror. His good wife, waking up with a start, asked him what ailed him. He told her with chattering teeth, how he had just seen Lucifer and had been in terror for his ears.
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