those times.

The while that these works were in progress, Don Jacopo d'Arezzo was
made General of the Congregation of Monte Oliveto, nineteen years after
he had caused many works to be wrought in Florence and in Arezzo, as it
has been said above, by our Spinello; and living, according to the
custom of these dignitaries, at Monte Oliveto Maggiore di Chiusuri in
the district of Siena, as the most honoured seat of that Order, he
conceived a desire to have a very beautiful panel made in that place.
Sending therefore for Spinello, by whom he had found himself very well
served at another time, he caused him to paint in distemper the panel of
the principal chapel, wherein Spinello made an infinite number of
figures both great and small on a ground of gold, with much judgment;
and an ornament being made for it afterwards, carved in half-relief, by
Simone Cini, the Florentine, he made for it in certain parts, with gesso
mixed with size and rather thick, or truly gelatinous, another ornament
which turned out very beautiful, and which was afterwards all overlaid
with gold by Gabriello Saracini, who wrote at the foot of the said panel
these three names:

SIMONE CINI, THE FLORENTINE, MADE THE CARVING; GABRIELLO SARACINI
OVERLAID IT WITH GOLD; AND SPINELLO DI LUCA OF AREZZO PAINTED IT
IN THE YEAR 1385.

This work finished, Spinello returned to Arezzo, having received from
that General and from the other monks, besides payment, many kindnesses;
but making no long stay there, because Arezzo was harassed by the Guelph
and Ghibelline parties, and was sacked in those days, he betook himself
with his family and his son Parri, who was studying painting, to
Florence, where he had friends and relatives enough. There, without the
Porta a S. Piero Gattolini, on the Strada Romana, where one turns to go
to Pazzolatico, he painted an Annunciation, as it were to pass the time,
in a shrine that to-day is half-ruined, and other pictures in another
shrine near the hostelry of Galluzzo.

He was then summoned to Pisa in order to finish, below the stories of S.
Ranieri in the Campo Santo, certain stories that were lacking in a space
that had remained not painted; and in order to connect them together
with those that had been made by Giotto, Simone Sanese, and Antonio
Viniziano, he made in that place, in fresco, six stories of S. Petito
and S. Epiro. In the first is S. Epiro, as a youth, being presented by
his mother t