Florentine sculptor and goldsmith
Benvenuto Cellini
(
,
Italian:
[be?ve?nuːto
t?el?liːni]
; 3 November 1500 – 13 February 1571) was an Italian
goldsmith
, sculptor, and author. His best-known extant works include the
Cellini Salt Cellar
, the sculpture of
Perseus with the Head of Medusa
, and his autobiography, which has been described as "one of the most important documents of the 16th century".
[2]
[3]
Biography
[
edit
]
Youth
[
edit
]
Benvenuto Cellini was born in
Florence
, in present-day Italy. His parents were Giovanni Cellini and Maria Lisabetta Granacci. They were married for 18 years before the birth of their first child. Benvenuto was the second child of the family. The son of a musician and builder of musical instruments, Cellini was pushed towards music, but when he was fifteen, his father reluctantly agreed to apprentice him to a
goldsmith
, Antonio di Sandro, nicknamed
Marcone
. At the age of 16, Benvenuto had already attracted attention in Florence by taking part in an
affray
with youthful companions. He was banished for six months and lived in
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
cornett
and flute player and made progress as a goldsmith.
[4]
After a visit to
Pisa
and two periods of living in Florence (where he was visited by the sculptor
Torrigiano
), he moved to Rome, at the age of nineteen.
[6]
Work in Rome
[
edit
]
Perseus with the Head of Medusa
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
Museo Nazionale del Bargello
in Florence.
[7]
He also took up the cornett again, and was appointed one of the pope's court musicians.
[8]
In the attack on Rome by the imperial forces of
Charles V, Holy Roman Emperor
under the command of
Charles III, Duke of Bourbon
and
Constable of France
, Cellini's bravery proved of signal service to the
pontiff
. According to Cellini's own accounts, he shot and injured
Philibert of Chalon, prince of Orange
[9]
(and, allegedly, shot and killed Charles III resulting in the
Sack of Rome
). His bravery led to a reconciliation with the Florentine magistrates,
[10]
and he soon returned to his hometown of
Florence
. Here he devoted himself to crafting medals, the more famous of which are "
Hercules
and the Nemean Lion", in gold
repousse
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 back 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 Benvenuto 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.
[13]
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 fourth victim was a rival goldsmith, Pompeo of Milan.
[14]
Ferrara and France
[
edit
]
The plots of
Pier Luigi 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 the gems of the pope's
tiara
during the war. He was confined to the
Castel Sant'Angelo
, escaped, was recaptured, and was treated with great severity; he was in daily expectation of death on the
scaffold
. While imprisoned in 1539, Cellini was the target of an assassination attempt of murder by ingestion of
diamond dust
; the attempt failed, for a nondiamond gem was used instead.
[15]
The intercession of Pier Luigi'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.
[16]
Cellini then worked at the court of
Francis I
at
Fontainebleau
and Paris. 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.
[17]
Cellini considered the
Duchesse d'Etampes
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.
Final return to Florence and death
[
edit
]
Statue of Cellini, Piazzale degli Uffizi, Florence
After several years of productive work in France, but beset by almost continual professional conflicts and violence, Cellini returned to
Florence
. There he once again took up his skills as a
goldsmith
, and was warmly welcomed by Duke Cosimo I de' Medici ? who elevated him to the position of court sculptor and gave him an elegant house in Via del Rosario (where Cellini built a foundry), with an annual salary of two hundred scudi. Furthermore, Cosimo commissioned him to make two significant bronze sculptures: a bust of himself, and Perseus with the head of Medusa (which was to be placed in the Lanzi loggia in the centre of the city).
In 1548, Cellini was accused by a woman named Margherita of having committed
sodomy
with her son Vincenzo,
[18]
and he temporarily fled to seek shelter in Venice. This was neither the first nor the last time that Cellini was implicated for sodomy (once with a woman and at least three times with men during his life), illustrating his homosexual or bisexual tendencies.
[19]
[20]
[21]
For example, earlier in his life as a young man, he was sentenced to pay 12
staia
of flour in 1523 for relations with another young man named Domenico di Ser Giuliano da Ripa.
[22]
Meanwhile, in Paris a former model and lover brought charges against him of using her "after the Italian fashion" (i.e., sodomy).
[22]
During the war with
Siena
in 1554, 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.
According to Cellini's autobiography, it was during this period that his personal rivalry with the sculptor
Baccio Bandinelli
grew.
[23]
On 26 February 1556, Cellini's apprentice Fernando di Giovanni di Montepulciano accused his mentor of having sodomised him many times while "keeping him for five years in his bed as a wife".
[24]
This time the penalty was a hefty 50 golden
scudi
fine, and four years of prison, remitted to four years of house arrest thanks to the intercession of the
Medicis
.
[22]
In a public altercation before Duke
Cosimo
,
Bandinelli
had called out to him
Sta cheto, soddomitaccio!
(Shut up, you filthy sodomite!) Cellini described this as an "atrocious insult", and attempted to laugh it off.
[25]
After briefly attempting a clerical career, in 1562 he married a servant, Piera Parigi, with whom he claimed he had five children, of whom only a son and two daughters survived him.
He was also named a member (
Accademico
) of the prestigious
Accademia delle Arti del Disegno
of Florence, founded by the Duke
Cosimo I de' Medici
, on 13 January 1563, under the influence of the architect
Giorgio Vasari
. He died in Florence on 13 February 1571 and was buried with great pomp in the church of the
Santissima Annunziata
.
Artwork
[
edit
]
Statues
[
edit
]
Besides his works in gold and silver, Cellini executed sculptures of a grander scale. One of the main projects of his French period is probably the Golden Gate for the
Chateau de Fontainebleau
. Only the bronze tympanum of this unfinished work, which represents the
Nymph of Fontainebleau
(Paris,
Louvre
), still exists, but the complete aspect can be known through archives, preparatory drawings and reduced casts.
[26]
[27]
[28]
Upon his return from France to his hometown Florence in 1545, Benvenuto cast a bronze bust of Cosimo I Medici, the Grand Duke of Tuscany.
[29]
On this
statue
, Cellini crafted three anthropomorphic heads on to the armour of the duke. The first of them is "grotesque" situated on the right shoulder of Cosimo. The decorative head is composed of lineaments of a satyr, lion and a man. Two other heads, much smaller than the first and almost identical, can be found beneath the collarbones on the bust's front. His most distinguished sculpture is the
bronze
group of
Perseus with 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 has been replaced by a cast.
By 1996, centuries of environmental pollution exposure had streaked and banded the statue. In December 1996 it was removed from the
Loggia
and transferred to the
Uffizi
for cleaning and restoration. It was a slow process, and the restored statue was not returned to its home until June 2000.
[
citation needed
]
Decorative art and portraiture
[
edit
]
Cellini's Crucifix at
El Escorial
Monastery
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.
Leda and the Swan
.
Cellini's
Saliera
, made in Paris, 1540?1543; Gold, partly covered in enamel, with an ebony base.
In addition to the bronze statue of
Perseus
and the medallions previously 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; a medal of Cardinal
Pietro Bembo
;
and the celebrated gold, enamel and ivory
[
citation needed
]
salt cellar (known as
Saliera
) made for
Francis I of France
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 11 May 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 21 January 2006 the
Saliera
was recovered by the Austrian police and later returned to the Kunsthistorisches Museum where it is now back on
Kunstkammer
display.
[30]
One of the more 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 Lopez 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 40-soldi piece with a bust of the duke on one side and standing figures of the saints Cosima 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
[
edit
]
Cellini's Medal portrait of Clement VII and morse
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, created for
Francis I
during his stay 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 million francs demanded by
Napoleon I
at the conclusion of the campaign against the
Papal States
in 1797. According to the terms of the treaty, the pope was permitted to pay a third of that sum in plate and jewels. In the print room of the
British Museum
are three
watercolour
drawings of this splendid morse by F. Bertoli, done at the insistence 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.
Cellini, Benvenuto. Bearded Man. Recto. 28.3 x 18.5 cm. Paper, graphite (1540?1543) (?) Royal Library, Turin.
Drawings and sketches
[
edit
]
The known drawings and sketches by Benvenuto Cellini are as follows:
- Cellini, Benvenuto.
Bearded Man
. Recto. 28.3 x 18.5 cm. Paper, graphite. (1540?1543) (?) Royal Library, Turin.
[31]
- Cellini, Benvenuto. Study of a man, body and profile. Verso. 28.3 x18.5 cm. Paper, graphite (1540?1543) (?) Royal Library, Turin.
[31]
- Cellini, Benvenuto.
Paint Self-Portrait
. 1558?1560. Oil, paper glued to canvas. 61 cm by 48 cm. Private collection
- Benvenuto. Juno. Drawing on paper. Cabinet of Drawings,
Louvre Museum
, Paris
- Cellini, Benvenuto. Satyr. 41 x 20.2 cm. Pen, ink.
National Gallery of Art
, Washington (from the Ian Woodner Collection, New York)
- Cellini, Benvenuto. A Study for the Seal of the Accademia del Disegno. 30 x 12.5 cm. Pen, brown ink. Louvre, Paris
- Cellini, Benvenuto. Mourning Woman. 30 x 12.5 cm. Pen, brown ink.
Louvre Museum
, Paris
In literature, music and film
[
edit
]
Autobiography
[
edit
]
The Autobiography of Benvenuto Cellini
was started in the year 1558 at the age of 58 and ended abruptly just before his last trip to
Pisa
around the year 1563 when Cellini was approximately 63 years old. The memoirs give a detailed account of his singular career, as well as his loves, hatreds, passions,
[21]
and delights, written in an energetic, direct, and racy style; as
one critic
wrote, "Other goldsmiths have done finer work, but Benvenuto Cellini is the author of the most delightful autobiography ever written."
Cellini's writing shows 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:
When certain decisions of the court were sent me by those lawyers, and I perceived that my cause had been unjustly lost, I had recourse for my defence to a great dagger I carried; for I have always taken pleasure in keeping fine weapons. The first man I attacked was a plaintiff who had sued me; and one evening I wounded him in the legs and arms so severely, taking care, however, not to kill him, that I deprived him of the use of both his legs. Then I sought out the other fellow who had brought the suit, and used him also such wise that he dropped it.
?
The Autobiography of Benvenuto Cellini
, Ch. XXVIII, translated by John Addington Symonds, Dolphin Books, 1961
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 mistresses had been spirited away from him by her mother; of the marvellous
halo
of light which he found surrounding his head
[33]
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 was translated into English by
Thomas Roscoe
, by
John Addington Symonds
, by Robert H.H. Cust and
Sidney J.A. Churchill
(1910), by
Anne Macdonell
, and by George Bull. It has been considered and published as a classic, and commonly regarded as one of the more colorful autobiographies (certainly the most important autobiography from the
Renaissance
).
[
citation needed
]
Other works
[
edit
]
Dell'oreficeria
("On the Goldsmith's Art", 1811)
Cellini wrote treatises on the
goldsmith
's art, on sculpture, and on design.
In the works of others
[
edit
]
Clement VII medallion
The following is a list of works influenced by Cellini or that reference him or his work:
- The life of Cellini inspired the French historical novelist
Alexandre Dumas, pere
. His 1843 novel
L'Orfevre du roi, ou Ascanio
is based on Cellini's years in France, centered on Ascanio, 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. That novel was the basis for
Paul Meurice
's 1852 play
Benvenuto Cellini
which, in turn, was the basis for
Louis Gallet
's
libretto
for
Camille Saint-Saens
' 1890 opera
Ascanio
.
- Rolex
chose to name their line of precious metal dress watches after Cellini, with the Rolex Cellini Collection beginning in 1928 and continuing today.
- Balzac
mentions Cellini's
Saliera
in his 1831 novel
La Peau de chagrin
.
- Cellini was the subject of an
eponymous opera
by
Hector Berlioz
, as well as another of the same title by
Franz Lachner
.
[34]
- Cellini's life is the subject of the
Broadway
musical,
The Firebrand of Florence
, by
Ira Gershwin
and
Kurt Weill
.
- The Affairs of Cellini
is a 1934 comedy film directed by
Gregory La Cava
and starring
Frank Morgan
,
Constance Bennett
,
Fredric March
,
Fay Wray
, and Louis Calhern. The film was adapted by
Bess Meredyth
from the play
The Firebrand of Florence
by
Edwin Justus Mayer
.
- Cellini's life is an occasional point of reference in the writings of
Mark Twain
.
Tom Sawyer
mentions Cellini's autobiography as an inspiration while freeing Jim in the
Adventures of Huckleberry Finn
. Cellini's work is also mentioned in
The Prince and the Pauper
in Chapter VII: "Its furniture was all of massy gold, and beautified with designs which well-nigh made it priceless, since they were the work of Benvenuto."
[35]
And in
A Connecticut Yankee in King Arthur's Court
, chapter XVII, Cellini is alluded to as the epitome of brutal, immoral, and yet deeply religious aristocracy.
- Herman Melville
compares his character
Ahab
, at the captain's first appearance, to a sculpture by Cellini in
Moby-Dick
chapter 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 Cellini's autobiography in
Jean Webster
's schoolgirl romance novel
Daddy-Long-Legs
.
- In Victor Hugo's novel
Les Miserables
, Marius's chapter contains the line "There are Benvenuto Cellinis in the galleys, even as there are Villons in language."
[36]
- The
Surrealist
artist
Salvador Dali
was also highly influenced by the life of Cellini, centering many etchings and sketches around his stories and passions.
- Cellini's autobiography is mentioned several times in Muriel Spark's
Loitering With Intent
.
- Lois McMaster Bujold
loosely bases the character Prospero Beneforte in her 1992 fantasy novel
The Spirit Ring
on Cellini and his works.
[37]
- The American poet
Frank Bidart
studies Cellini in "The Third Hour of the Night", a long poem from his 2005 book
Star Dust
.
- Ian Fleming
mentions Cellini multiple times in his James Bond novels. In the second James Bond novel,
Live and Let Die
, the villain Mr. Big says that he wishes his crimes to "be a work of art, bearing my signature as clearly as the creations of, let us say, Benvenuto Cellini."
[38]
In the seventh James Bond novel,
Goldfinger
, Bond says of the titular villain: "... Goldfinger was an artist - a scientist in crime as great in his field as Cellini or Einstein in theirs."
- Fictional works by Cellini feature in
Agatha Christie
's
The Labours of Hercules
, in
Nathaniel Hawthorne
's "
Rappaccini's Daughter
"; and the film
The Girl from Missouri
(1934).
- In
The Medusa Amulet
by
Roberto Masello
, (Vintage 2011), Cellini creates the menacing Medusa Amulet.
- Evelyn Anthony
's
The Poellenberg Inheritance
(1972) features the fictional Poellenberg Salt, inspired by the
Saliera
.
- Cellini is mentioned in
George Orwell
's
Down and Out in Paris and London
as reminding the protagonist of a waiter as
a good fellow when one got to know him
.
- The fictional secret agent, Nick Carter, owns a pearl-handled, 400-year-old stiletto said to have been made by Cellini, which is featured regularly in the
Nick Carter-Killmaster
series of novels.
- The 1966 film
How to Steal a Million
focuses on
Audrey Hepburn
's character's attempts to steal back a fictional statuette of Venus supposedly sculpted by Cellini before art conservators at the museum it has been lent to discover that it is a fake, actually sculpted by her grandfather.
[39]
- Full length drama in four acts
A Man of His Time
(1923) by Australian playwright
Helen de Guerry Simpson
1897-1940 is entirely concerned with Benvenuto Cellini 1500-1571
[40]
- The Young Indiana Jones Chronicles
referenced Cellini several times in the second episode of the series as an artist who lived a particularly "wild" life and that his autobiography was entirely unsuited for a nine-year-old boy.
References
[
edit
]
- ^
Eve Borsook.
The Companion Guide to Florence
. 5th ed. Harper Collins 1991.
- ^
The Concise Columbia Encyclopedia
(3rd ed.). Columbia University Press. 1994. p. 155.
ISBN
0-395-62439-8
.
- ^
"Benvenuto Cellini summary"
.
Britannica.com
. Retrieved
21 April
2022
.
- ^
Cellini,
Vita
, Book 1, Ch IX
- ^
Cellini,
Vita
, Book 1, Ch XIII
- ^
"Medallion with Leda and the Swan by CELLINI, Benvenuto"
.
wga.hu
.
- ^
Cellini,
Vita
, Book 1, Ch XXII.
- ^
Cellini,
Vita
, Book 1, Ch XXXVIII
- ^
Cellini,
Vita
, Book 1, Ch XXXIX
- ^
Cellini,
Vita
, Book 1, Ch LI
- ^
Cellini,
Vita
, Book 1, Ch LXXIII
- ^
Robert A. Freitas Jr. (2003). "15.1.1 Mechanical Damage from Ingested Diamond".
Nanomedicine
. Vol. IIA: Biocompatibility. Georgetown, TX:
Landes Bioscience
.
- ^
Cellini,
Vita
, Book 2, Ch II
- ^
Cellini,
Vita
, Book 2, Ch XXXVII
- ^
L. Greci (1930).
Benventuto Cellini nei delitti e nei processi fiorentini
(in Italian). Archivio di antropologia criminale. p. 50.
- ^
Rocke, Michael (1996).
Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence
. Oxford University Press.
- ^
Smalls, James (2012).
Homosexuality in Art (Temporis Collection)
. Parkstone Press.
- ^
a
b
"Straightwashing von Kunstlern - Die historische Forschung tut sich schwer mit Homosexualitat"
.
Schweizer Radio und Fernsehen (SRF)
(in German). 6 March 2022
. Retrieved
21 April
2022
.
- ^
a
b
c
I. Arnaldi,
La vita violenta di Benvenuto Cellini
, Bari, 1986
- ^
Cellini,
Vita
, Book 2, Ch. III
- ^
"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.)
- ^
Vita,
Book II, Ch. LXXI
- ^
For a graphic restitution of the Golden Gate, see Thomas Clouet, "Fontainebleau de 1541 a 1547. Pour une relecture des Comptes des Batiments du roi",
Bulletin monumental
170
(2012), pp. 214?215 (
english summary
).
- ^
James Fenton (4 October 2003).
"James Fenton on the history of a recently rediscovered Cellini bronze satyr"
.
The Guardian
.
- ^
"Satyr (Getty Museum)"
.
The J. Paul Getty in Los Angeles
.
- ^
Cellini, B. The Autobiography // Gutenberg.org., Vol. II Ch. LXIII, as translated by John Addington Symonds, (URL:
http://www.gutenberg.org/ebooks/4028
date of request January 6, 2015).
- ^
Spectacular reopening of the Kunstkammer
Archived
24 October 2013 at the
Wayback Machine
,
Kunsthistorisches Museum
- ^
a
b
Pope-Hennessy, John Wyndham (1985).
Cellini
. Abbeville Press.
OCLC
681620188
.
- ^
This is a known optical physical effect, called
heiligenschein
.
- ^
Leuchtmann, Horst (2001). "Benvenuto Cellini". In
Sadie, Stanley
;
Tyrrell, John
(eds.).
The New Grove Dictionary of Music and Musicians
. Vol. 14 (2nd ed.). London:
Macmillan
. p. 96.
- ^
Twain, Mark (28 February 2017).
The Prince and the Pauper
.
ISBN
9781365790935
. Retrieved
2 October
2021
.
- ^
Victor Hugo,
Les Miserables
- ^
Bujold, Lois McMaster,
The Spirit Ring
,
ISBN
0-671-57870-7
(Author's Note)
- ^
Fleming, Ian (1954).
Live and Let Die
. Las Vegas: Thomas & Mercer. p. 71.
ISBN
9781612185446
.
- ^
Crowther, Bosley (15 July 1966).
"Screen: 'How to Steal a Million' Opens at Music Hall; Audrey Hepburn Stars With Peter O'Toole 'Enough Rope' Arrives at Little Carnegie"
.
The New York Times
. Retrieved
18 July
2018
.
- ^
"Trove"
.
Attribution:
Further reading
[
edit
]
- Autobiography of Benvenuto Cellini, Symonds translation
at
Project Gutenberg
- Lopez 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.
- Andreas Beyer: "Benvenuto Cellini: VITA/Mein Leben", in Markus Krajewski/Harun Maye (Ed.): Bose Bucher. Inkoharente Texte von der Renaissance bis zur Gegenwart, Wagenbach Verlag, Berlin 2019, pp. 29?38.
ISBN
978-3-8031-3678-7
- Angela Biancofiore,
Benvenuto Cellini artiste-ecrivain: l'homme a l'oeuvre
, Paris, L'Harmattan, 1998
- Maryon, Herbert
(1971).
"Benvenuto Cellini"
.
Metalwork and Enamelling
(5th ed.). New York: Dover.
ISBN
0-486-22702-2
.
External links
[
edit
]
|
---|
Sculptures
| |
---|
Portrayals
| |
---|
Related
| |
---|
|
---|
International
| |
---|
National
| |
---|
Academics
| |
---|
Artists
| |
---|
People
| |
---|
Other
| |
---|