Benvenuto Cellini

Benvenuto Cellini (November 3, 1500 – February 13, 1571) was an Italian goldsmith, painter, sculptor, soldier and musician of the Renaissance, who also wrote a famous autobiography.

Biography

Youth

Benvenuto Cellini was born in Florence, Italy, where his family had been landowners in the Val d'Ambra for three generations. His parents were Giovanni Cellini, a musician and builder of musical instruments, and Maria Lisabetta Granacci. They were married for eighteen years before the birth of their first child. Benvenuto was the second child of the family [Cellini, "Vita", Book 1, Ch III]

Giovanni initially wished Benvenuto to join him in instrument making, and endeavoured to thwart his inclination for metalwork. When he was fifteen, his father reluctantly agreed to apprentice him to a goldsmith, Antonio di Sandro, nicknamed Marcone. At the age of sixteen, Benvenuto had already attracted attention in Florence by taking part in an affray with youthful companions. He escaped punishment by fleeing for six months to Siena, where he worked for a goldsmith named Fracastoro (unrelated to the Veronese polymath). From Siena he moved to Bologna, where he became a more accomplished flute-player and made progress as a goldsmith. After a visit to Pisa and two periods of living in Florence (where he was visited by the sculptor Torrigiano), he moved to Rome, age nineteen [Cellini, "Vita", Book 1, Ch XIII] .

Work in Rome

His first works in Rome were a silver casket, silver candlesticks, and a vase for the bishop of Salamanca, which won him the approval of Pope Clement VII. Another celebrated work from Rome is the gold medallion of "Leda and the Swan" executed for the Gonfaloniere Gabbriello Cesarino, and which is now in the Vienna museum. He also took up the flute again, and was appointed one of the pope's court musicians.

In the attack upon Rome by Charles III, Duke of Bourbon, Cellini's bravery proved of signal service to the pontiff. According to his own accounts, he himself shot and injured Philibert of Châlon, prince of Orange. [Cellini, "Vita", Book 1, Ch XXXVIII] . His bravery led to a reconciliation with the Florentine magistrates [Cellini, "Vita", Book 1, Ch XXXIX] , and he soon returned to his hometown. Here he devoted himself to crafting medals, the most famous of which are "Hercules and the Nemean Lion", in gold "repoussé" work, and "Atlas supporting the Sphere", in chased gold, the latter eventually falling into the possession of Francis I of France.

From Florence he went to the court of the duke of Mantua, and then again to Florence. On returning to Rome, he was employed in the working of jewelry and in the execution of dies for private medals and for the papal mint. In 1529 his brother Cecchino killed a Corporal of the Roman Watch and in turn was wounded by an arquebusier, later dying of his wound. Soon afterward Benvento killed his brother's killer — an act of blood revenge but not justice as Cellini admits that his brother's killer had acted in self-defense [Cellini, "Vita", Book 1, Ch LI] . Cellini fled to Naples to shelter from the consequences of an affray with a notary, Ser Benedetto, whom he had wounded. Through the influence of several cardinals, Cellini obtained a pardon. He found favor with the new pope, Paul III, notwithstanding a fresh homicide during the interregnum three days after the death of Pope Clement VII in September 1534. The victim was a rival goldsmith Pompeo Of Milan and the killing, the fourth that Cellini boasts of in his Memoirs, was more by accident than by premeditated malice. He was saved from arrest only because of a safe-conduct by the Pope. [Cellini, "Vita", Book 1, Ch LXXXIV]

Ferrara and France

The plots of Pierluigi Farnese led to Cellini's retreat from Rome to Florence and Venice, where he was restored with greater honour than before. At the age of 37, upon returning from a visit to the French court, he was imprisoned on a charge (apparently false) of having embezzled during the war the gems of the pope's tiara. He was confined in the Castel Sant'Angelo, escaped, was recaptured, and treated with great severity, and was in daily expectation of death on the scaffold. The intercession of Pierluigi's wife, and especially that of the Cardinal d'Este of Ferrara, eventually secured Cellini's release, in gratitude for which he gave d'Este a splendid cup [Cellini, "Vita", Book 2, Ch II] .

Cellini then worked at the court of Francis I at Fontainebleau and Paris. However, he considered the duchesse d'Étampes to be set against him and refused to conciliate with the king's favorites. He could no longer silence his enemies by the sword, as he had silenced those in Rome. As a result, after about five years of sumptuous work but continual jealousy and violence, Cellini returned to Florence, where he continued as a goldsmith and became the rival of sculptor Baccio Bandinelli [Cellini, "Vita", Book 2, Ch III] .

Death

During the war with Siena, Cellini was appointed to strengthen the defences of his native city, and, though rather shabbily treated by his ducal patrons, he continued to gain the admiration of his fellow-citizens by the magnificent works which he produced. He died in Florence in 1571 and was buried with great pomp in the church of the Annunziata. He had supported in Florence a widowed sister and her six daughters.

Personal relationships

Cellini is known to have taken some of his female models as mistresses, having an illegitimate daughter in 1544 with one of them while living in France, whom he named Costanza [Cellini, "Vita", Book 2, Ch XXXVII] . After briefly attempting a clerical career, in 1562, he married a servant, Piera Parigi, with whom he claimed he had five children, of which only a son and two daughters survived him.

Outside his marriage, Cellini was officially charged or accused three times with homosexual sodomy and once with heterosexual.

*14 January 1523 he was sentenced to pay 12 staia of flour for relations with a boy named Domenico di ser Giuliano da Ripa [I. Arnaldi, "La vita violenta di Benvenuto Cellini", Bari, 1986]
*While in Paris, a former model and lover brought charges against him of using her "after the Italian fashion." [I. Arnaldi, "La vita violenta di Benvenuto Cellini", Bari, 1986]
*In Florence in 1548, Cellini was accused by a woman named Margherita, for having certain familiarities with her son, Vincenzo. [L. Greci, 'Benventuto Cellini nei delitti e nei processi fiorentini' Archivio di anthroplogia criminale, 50 (1930)]
*26 February 1556, his apprentice Fernando di Giovanni di Montepulciano accused his mentor of having sodomised him many times ["Cinque anni ha tenuto per suo ragazzo Fernando di Giovanni di Montepulciano, giovanetto con el quale ha usato carnalmente moltissime volte col nefando vitio della soddomia, tenendolo in letto come sua moglie" (For five years he kept as his boy Fernando di Giovanni di Montepulciano, a youth whom he used carnally in the abject vice of sodomy numerous instances, keeping him in his bed as a wife.) ] This time the penalty was a hefty fifty golden scudi fine, and four years of prison, remitted to four years of house arrest thanks to the intercession of the Medicis [I. Arnaldi, "La vita violenta di Benvenuto Cellini", Bari, 1986]

Towards the end of his life during a public altercation before Duke Cosimo, Bandinelli had called out to him "Sta cheto, soddomitaccio!" (Shut up, you filthy sodomite!), an 'atrocious insult' which greatly wounded Cellini's pride [Cellini, "Vita," Book II, Chapter LXXI] .

Works

tatues

Besides his works in gold and silver, Cellini executed sculptures of grander scale. The most distinguished of these is the bronze group of "Perseus holding the head of Medusa", a work (first suggested by Duke Cosimo I de Medici) now in the Loggia dei Lanzi at Florence, his attempt to surpass Michelangelo's David and Donatello's Judith and Holofernes. The casting of this work caused Cellini much trouble and anxiety, but it was hailed as a masterpiece as soon as it was completed. The original relief from the foot of the pedestal — Perseus and Andromeda — is in the Bargello, and replaced by a cast.

By 1996, centuries of environmental pollution exposure had streaked and banded the statue. In December of that year it was removed from the Loggia and transferred to the Uffizi for cleaning and restoration. It was a slow, years-long process, and the restored statue was not returned to its home until June of 2000.

Decorative art and portraiture

Among his art works, many of which have perished, were a colossal Mars for a fountain at Fontainebleau and the bronzes of the doorway, coins for the Papal and Florentine states, a life-sized silver Jupiter, and a bronze bust of Bindo Altoviti. The works of decorative art are florid in style.

In addition to the bronze statue of Perseus and the medallions already referred to, the works of art in existence today are a medallion of Clement VII commemorating the peace between the Christian princes, 1530, with a bust of the pope on the reverse and a figure of Peace setting fire to a heap of arms in front of the temple of Janus, signed with the artist's name; a signed portrait medal of Francis I; a medal of Cardinal Pietro Bembo; and the celebrated gold, enamel and ivory salt-cellar (known as "Saliera") made for Francis I at Vienna. This intricate 26-cm-high sculpture, of a value conservatively estimated at 58,000,000 schilling, was commissioned by Francis I. Its principal figures are a naked sea god and a woman sitting opposite each other with legs entwined, symbolically representing the planet Earth. "Saliera" was stolen from the Kunsthistorisches Museum on May 11, 2003 by a thief who climbed scaffolding and smashed windows to enter the museum. The thief set off the alarms, but these were ignored as false, and the theft remained undiscovered until 8:20 AM. On January 21, 2006 the "Saliera" was recovered by the Austrian police and is supposed to be returned to the Kunsthistorisches Museum in the coming days.One of the most important works by Cellini from late in his career was a life-size nude crucifix carved from marble. Although originally intended to be placed over his tomb, this crucifix was sold to the Medici family who gave it to Spain. Today the crucifix is in the Escorial Monastery near Madrid, where it has usually been displayed in an altered form--the monastery added a loincloth and a crown of thorns. For detailed information about this work, see the text by Juan López Gajate in the Further Reading section of this article.

Cellini, while employed at the papal mint at Rome during the papacy of Clement VII and later of Paul III, created the dies of several coins and medals, some of which still survive at this now defunct mint. He was also in the service of Alessandro de Medici, first duke of Florence, for whom he made in 1535 a forty-soldi piece with a bust of the duke on one side and standing figures of the saints Cosma and Damian on the other. Some connoisseurs attribute to his hand several plaques, "Jupiter crushing the Giants", "Fight between Perseus and Phineus", a Dog, etc. Other works such as the portrait bust shown are not directly attributed but are instead attributed to his workshop.

Lost works

The important works which have perished include the uncompleted chalice intended for Clement VII; a gold cover for a prayer-book as a gift from Pope Paul III to Charles V, Holy Roman Emperor — both described at length in his autobiography; large silver statues of Jupiter, Vulcan and Mars, wrought for Francis I during his sojourn in Paris; a bust of Julius Caesar; and a silver cup for the cardinal of Ferrara. The magnificent gold "button", or morse (a clasp for a cape), made by Cellini for the cape of Clement VII, the competition for which is so graphically described in his autobiography, appears to have been sacrificed by Pope Pius VI, with many other priceless specimens of the goldsmith's art, in furnishing the 30,000,000 francs demanded by Napoleon at the conclusion of the campaign against the States of the Church in 1797. According to the terms of the treaty, the pope was permitted to pay a third of that sum in plate and jewels. Fortunately there are in the print room of the British Museum three watercolour drawings of this splendid morse by F. Bertoli, done at the instance of an Englishman named Talman in the first half of the 18th century. The obverse and reverse, as well as the rim, are drawn full size, and moreover the morse with the precious stones set therein, including a diamond then considered the second largest in the world, is fully described. Benvenuto's works are mentioned as "priceless" in Mark Twain's "The Prince and the Pauper."

Cellini in literature and music

Cellini's Autobiography and other writings

Cellini's autobiographical memoirs, which he began writing in Florence in 1558, give a detailed account of his singular career, as well as his loves, hatreds, passions, and delights, written in an energetic, direct, and racy style. They show a great self-regard and self-assertion, sometimes running into extravagances which are impossible to credit. He even writes in a complacent way of how he contemplated his murders before carrying them out. He writes of his time in Paris:

Parts of his tale recount some extraordinary events and phenomena; such as his stories of conjuring up a legion of devils in the Colosseum, after one of his not innumerous mistresses had been spirited away from him by her mother; of the marvelous halo of light which he found surrounding his head at dawn and twilight after his Roman imprisonment, and his supernatural visions and angelic protection during that adversity; and of his being poisoned on two separate occasions.

The autobiography has been translated into English by Thomas Roscoe, by John Addington Symonds, and by A. Macdonald. It has been considered and published as a classic, and commonly regarded as one of the most colourful autobiographies (certainly the most important autobiography from the Renaissance). [New International Encyclopedia] Cellini also wrote treatises on the goldsmith's art, on sculpture, and on design.

Cellini in the works of others

The life of Cellini also inspired the French historical novelist Alexandre Dumas, père. His "Ascanio" is based on Cellini's years in France, centered on Asciano, an apprentice of Cellini. Dumas' trademark plot twists and intrigues feature in the novel, in this case involving Cellini, the duchesse d'Etampes, and other members of the court. Cellini is portrayed as a passionate and troubled man, plagued by the inconsistencies of life under the "patronage" of a false and somewhat cynical court.

Cellini was also the subject of an eponymous opera by Hector Berlioz and a Broadway musical, "The Firebrand of Florence", by Ira Gershwin and Kurt Weill, which featured Lotte Lenya (Mrs. Weill) as one of the sculptor's royal conquests. The show only ran for a month on Broadway, although some of its songs are periodically revived. It marked the last major collaboration between Weill and Gershwin, who are best known for "Lady in the Dark" (1941). [http://www.ibdb.com/production.asp?ID=1687]

Cellini's autobiography is one of the books Tom Sawyer mentions as inspiration while freeing Jim in "The Adventures of Huckleberry Finn".

In "Rappaccini's Daughter" by Nathaniel Hawthorne, an antidote to poison is presented in a vase "wrought by the hands of Benvenuto Cellini."

Herman Melville compares Ahab, at the captain's first appearance, to a sculpture of Cellini. From "Moby-Dick" chap. 28; "His whole high, broad form, seemed made of solid bronze, and shaped in an unalterable mould, like Cellini's cast Perseus."

Judy Abbott mentions Benvenuto Cellini's autobiography in Jean Webster's schoolgirl romance novel Daddy-Long-Legs.

In Les Misérables in Marius' chapter "There are Benvenuto Cellinis in the galleys, even as there are Villons in language." [Victor Hugo, "Les Misérables"]

Notes

References

*1911

Further reading

* López Gajate, Juan. El Cristo Blanco de Cellini. San Lorenzo del Escorial: Escurialenses, 1995.
* Pope-Hennessy, John Wyndham. Cellini. New York: Abbeville Press, 1985.
* Parker, Derek: Cellini. London, Sutton, 2004.
* Angela Biancofiore, Benvenuto Cellini artiste-écrivain: l'homme à l'oeuvre, Paris, L'Harmattan, 1998

External links

*

More images of the restored "Perseus":
* [http://www.pbase.com/yolyn/image/33903662/original Reverse angle (400k) from Pbase]
*
* [http://www.scultura-italiana.com/Galleria/Cellini%20Benvenuto/ More images]