g time after, by reason of the devotion that he bore to that holy
man, Parri portrayed the said S. Bernardino in fresco on a large
pilaster in the Duomo Vecchio; in which place, in a chapel dedicated to
the same Saint, he also painted him glorified in Heaven and surrounded
by a legion of angels, with three half-length figures, one on either
side--Patience and Poverty--and one above--Chastity--with which three
virtues that Saint held company up to his death. Under his feet he had
some Bishops' mitres and Cardinals' hats, in order to show that,
laughing at the world, he had despised such dignities; and below these
pictures was portrayed the city of Arezzo, such as it was in those
times. For the Company of the Nunziata, likewise, in a little chapel, or
rather maesta,[11] without the Duomo, Parri made a Madonna in fresco,
who, receiving the Annunciation from the Angel, is turning away all in
terror; and in the sky on the vaulting, which is groined, he made
angels, two in each angle, who, flying through the air and making music
with various instruments, appear to be playing together, so that one
almost hears a very sweet harmony; and on the walls are four
saints--namely, two on each side. But the pictures wherein he showed
best his power of varying the expression of his conception are seen on
the two pilasters that support the arch in front, where the entrance is,
for the reason that on one there is a very beautiful Charity, who is
affectionately suckling one infant, fondling a second, and holding a
third by the hand, while on the other there is Faith, painted in a new
manner, holding the Chalice and the Cross in one hand, and in the other
a cup of water, which she is pouring over the head of a boy, making him
a Christian. All these figures are without doubt the best that Parri
ever made in all his life, and even in comparison with the modern they
are marvellous.

[Footnote 11: A street-shrine, generally containing a picture of the
Virgin in Glory.]

Within the city, in the Church of S. Agostino, in the choir of the
friars, the same man painted many figures in fresco, which are known by
the manner of the draperies, and by their being long, slender, and bent,
as it has been said above. In the tramezzo[12] of the Church of S.
Giustino he painted in fresco a S. Martin on horseback, who is cutting
off a piece of his garment to give it to a beggar, and two other saints.
In the Vescovado, also, on the face of one wall, he painted