| 22nd | Top sculptors |
| 11st | Top Italian writers |
| Benvenuto Cellini | |
|---|---|
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| Bust of Benvenuto Cellini on the Ponte Vecchio, Florence. | |
| Birth name | Benvenuto Cellini |
| Born | 3 November 1500 Florence, Republic of Florence |
| Died | 13 February 1571 (aged 70) Florence, Grand Duchy of Tuscany |
| Nationality | Italian |
| Field | Goldsmith, sculptor, painter |
| Training | Accademia delle Arti del Disegno |
| Movement | Mannerism |
| Works | Cellini Salt Cellar (Saliera), 1543 |
Benvenuto Cellini (3 November 1500 – 13 February 1571) was an Italian goldsmith, sculptor, painter, soldier and musician , who also wrote a famous autobiography. He was one of the most important artists of Mannerism.
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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[1]
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[2].
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.[3] (Allegedly Cellini also killed Charles III, Duke of Bourbon during the Siege of Rome.) His bravery led to a reconciliation with the Florentine magistrates,[4] 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 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.[5] 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 who was working under Cellini's employment; Pompeo of Milan. Cellini reported in his autobiography that he had fallen in love with Pompeo and admired watching his magnificent physique as he worked near the furnace melting iron and bronze, and that he bore the hope of his affections to soon be acknowledged and returned by Pompeo. When Cellini learned that Pompeo was absent from work that day as his wife's lover, he admitted to visiting the Villa where his separated wife lived and meeting Pompeo at the door, stabbed him on the threshold. His wife he immediately stabbed afterward inside of the home for her 'betrayal'. The killings, the fourth and fifth that Cellini boasts of in his memoirs, was reported in his autobiography as nothing more than a 'justifiable accident during a heated argument' rather than by premeditated malice. He was saved from arrest only because of a safe-conduct by the Pope.[6]
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.[7]
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 invested work but continual jealousy and violence, Cellini returned to Florence, where he continued as a goldsmith and became the rival of sculptor Baccio Bandinelli[8] who died a few years later in 1560.
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 was also named a member (Accademico) of the prestigious Accademia delle Arti del Disegno of Florence, founded by the Duke Cosimo I de' Medici, at 13 January 1563, under the influence of the architect Giorgio Vasari. He died in Florence in 1571 and was buried with great pomp in the church of the Santissima Annunziata. He had supported in Florence a widowed sister and her six daughters.
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.[9] 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.
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!) Cellini qualified it an "atrocious insult."[13]
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 2000.
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; a medal of Cardinal Pietro Bembo; and the celebrated gold, enamel and ivory 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 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.
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'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:
| “ | 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 defense 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.[14] | ” |
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).[15] Cellini also wrote treatises on the goldsmith's art, on sculpture, and on design.
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). [1]
Cellini's life is an occasional point of reference in the writing of Mark Twain. Cellini's autobiography is one of the books Tom Sawyer mentions as inspiration while freeing Jim in The Adventures of Huckleberry Finn. His work is 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." 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.
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 Marius' chapter contains the line "There are Benvenuto Cellinis in the galleys, even as there are Villons in language."[16]
In The Labours of Hercules, writer Agatha Christie uses a fictional goblet created by Benvenuto Cellini as the starting point for the short story entitled The Apples of the Hesperides.
Surrealist artist, Salvador Dali was also highly influenced by the life of Cellini, centering many etchings and sketches around his story and passions.
The American poet Frank Bidart studies Cellini in "The Third Hour of the Night", a long poem from his book Star Dust.
Lois McMaster Bujold loosely bases the character Prospero Beneforte in her fantasy novel The Spirit Ring on Cellini and his works.[17]
More images of the restored Perseus:
Benvenuto Cellini (1500-11-03 – 1571-02-13) was a Florentine writer, goldsmith and sculptor. He is now best known as the author of a revealing autobiography.
BENVENUTO CELLINI (150o-1571), Italian artist, metal: worker and sculptor, was born in Florence, where his family,. originally landowners in the Val d'Ambra, had for three generations been settled. His father, Giovanni Cellini, was a musician and artificer of musical instruments; he married Maria Lisabetta. Granacci, and eighteen years elapsed before they had any progeny. Benvenuto (meaning "Welcome") was the third child. The father destined him for the same profession as himself, and endeavoured to thwart his inclination for design and metal work. When he had reached the age of fifteen his youthful predilection had become too strong to be resisted, and his father reluctantly gave consent to his being apprenticed to a goldsmith, Antonio di Sandro, named Marcone. He had already attracted some notice in his native place, when, being implicated in a fray with some of his companions, he was banished for six months to Siena, where he worked for Francesco Castoro, a goldsmith; from thence he removed to Bologna, where he became a more accomplished flute-player and made progress in the goldsmith's art. After visiting Pisa, and after twice resettling for a while in Florence (where he was visited by the sculptor Torrigiano, who unsuccessfully suggested his accompanying him to England), he decamped to Rome, aged nineteen. His first attempt at his craft here was a silver casket, followed by some silver candlesticks, and later by a vase for the bishop of Salamanca, which introduced him to the favourable notice of Pope Clement VII.; likewise at a later date one of his celebrated works, the gold medallion of "Leda and the Swan," - the head and torso of Leda cut in hard stone - executed for Gonfaloniere Gabbriello Cesarino, which is now in the Vienna museum; he also reverted to music, practised flute-playing, and was appointed one of the pope's court-musicians. In the attack upon Rome by the constable de Bourbon, which occurred immediately after, in 1527, the bravery and address of Cellini proved of signal service to the pontiff; if we may believe his own accounts, his was the very hand which shot the Bourbon dead, and he afterwards killed Philibert, prince of Orange. His exploits paved the way for a reconciliation with the Florentine magistrates, and his return shortly after to his native place. Here he assiduously devoted himself to the execution of medals, the most famous of which (executed a short while later) 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. From Florence he went to the court of the duke of Mantua, and thence again to Florence and to Rome, where he was employed not only in the working of jewelry, but also in the execution of dies for private medals and for the papal mint. Here in 1529 he avenged a brother's death by slaying the slayer; and shortly afterwards had to flee to Naples to shelter himself from the consequences of an affray with a notary, Ser Benedetto, whom he wounded. Through the influence of several of the cardinals he obtained a pardon; and on the elevation of Paul III. to the pontifical throne he was reinstated in his former position of favour, notwithstanding a fresh homicide of a goldsmith which he had committed more by accident than of malice prepense in the interregnum. Once more the plots of Pierluigi Farnese, a natural son of Paul III., led to his retreat from Rome to Florence and Venice, and once more he was restored with greater honour than before. On returning from a visit to the court of Francis I., being now aged thirty-seven, he was imprisoned on a charge (apparently false) of having embezzled during the war the gems of the pontifical tiara; he remained some while confined in the castle of Sant' Angelo, escaped, was recaptured, and treated with great severity, and was in daily expectation of death on the scaffold. At last, however, he was released at the intercession of Pierluigi's wife, and more especially of the Cardinal d'Este of Ferrara, to whom he presented a splendid cup. For a while after this he worked at the court of Francis I. at Fontainebleau and in Paris; but he considered the duchesse d'Etampes to be set against him, and the intrigues of the king's favourites, whom he would not stoop to conciliate and could not venture to silence by the sword, as he had silenced his enemies in Rome, led him, after about five years of laborious and sumptuous work, and of continually-recurring jealousies and violences, to retire in 1545 in disgust to Florence, where he employed his time in works of art, and exasperated his temper in rivalries with the uneasy-natured sculptor Baccio Bandinelli. The first collision between the two had occurred several years before when Pope Clement VII. commissioned Cellini to mint his coinage. Now, in an altercation before Duke Cosimo, Bandinelli insultingly stigmatized Benvenuto as guilty of gross immorality; in his autobiography Cellini rather repels than denies the charge, but he certainly repels it with demonstrative and grotesque vivacity. Two somewhat similar charges had been made ere this: one in Paris, which he braved out in court - the other, in Florence, was a mere private quarrel, and perhaps undeserving of attention. 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, unmarried, and leaving no posterity, and was buried with great pomp in the church of the Annunziata. He had supported in Florence a widowed sister and her six daughters.
Besides the works in gold and silver which have been adverted to, Cellini executed several pieces of sculpture on a 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 de' Medici) now in the Loggia dei Lanzi at Florence, full of the fire of genius and the grandeur of a terrible beauty, one of the most typical and unforgettable monuments of the Italian Renaissance. The casting of this great work gave Cellini the utmost trouble and anxiety; and its completion was hailed with rapturous homage from all parts of Italy. The original relief from the foot of the pedestal - Perseus and Andromeda - is in the Bargello, and replaced by a cast.
Not less characteristic of its splendidly gifted and barbarically untameable author are the autobiographical memoirs which he composed, beginning them in Florence in 1558, - a production of the utmost energy, directness and racy animation, setting forth one of the most singular careers in all the annals of fine art. His amours and hatreds, his passions and delights, his love of the sumptuous and the exquisite in art, his self-applause and selfassertion, running now and again into extravagances which it is impossible to credit, and difficult to set down as strictly conscious falsehoods, make this one of the most singular and fascinating books in existence. Here we read, not only of the strange and varied adventures of which we have presented a hasty sketch, but of the devout complacency with which Cellini could contemplate a satisfactorily achieved homicide; of the legion of devils which he and a conjuror evoked in the Colosseum, after one of his not innumerous mistresses had been spirited away from him by her mother; of the marvellous 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 several occasions. If he is unmeasured in abusing some people, he is also unlimited in praising others. The autobiography has been translated into English by Thomas Roscoe, by J. A. Symonds, and by A. Macdonald. Cellini also wrote treatises on the goldsmith's art, on sculpture, and on design (translated by C. R. Ashbee, 1899).
Among his works of art not already mentioned, 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 Jupiter in silver of life size, and a bronze bust of Bindo Altoviti. The works of decorative art are, speaking broadly, rather florid than chastened in style.
In addition to the bronze statue of Perseus and the medallions already referred to, the works of art in existence to-day executed by him are the celebrated silver salt-cellar of Francis I. at Vienna; a medallion of Clement VII. in commemoration of 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 medal of Francis I. with his portrait, also signed; and a medal of Cardinal Pietro Bembo. Cellini, while employed at the papal mint at Rome during the papacy of Clement VII. and later of Paul III., executed 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 executed in 1535 a forty-soldi piece with a bust of the duke on one side and standing figures of the saints Cosmo and Damian on the other. Some connoisseurs attribute to his hand several plaques, "Jupiter crushing the Giants," "Fight between Perseus and Phinaeus," a Dog, &c.
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., - 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, made by Cellini for the cope of Clement VII., the competition for which is so graphically described in his autobiography, appears to have been sacrificed by Pius VI., with many other priceless specimens of the goldsmith's art, in furnishing the indemnity of 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.
The autobiography already named is the foundation of most of the works written concerning Cellini's life. See also Cellini, His Times and Contemporaries, by "the Author of the Life of Sir Kenelm Digby" (1899); L. Dimier, Cellini a la tour de France (1898); Eugene Plon, Cellini, orfevre, me'dailleur, &c. (1883); Bolzenthal, Skizzen zur Kunstgeschichte der modernen Medaillen-Arbeit 1429-1840 (Berlin, 1840); A, Armand, Les Medailleurs italiens des X V e et X VI e siecles (3 vols., Paris, 1883-1887); Dr Francesco Tassi, Vita di Benvenuto Cellini (Firenze, 1829), Vita di Benvenuto Cellini scritta da lui medisimo (1832); E. Babelon, La Gravure en pierces fines (Paris, 1894); A. Heiss, Les Medailleurs florentins (Paris, 1887); J. Friedlander, Die italienischen Schaumdnzen des fiinfzehnten Jahrhunderts (Berlin, 1880-1882); N. Rondot, Les Medailleurs lyonnais (Macon, 1897); Dr Julius Cahn, Medaillen and Plaketten der Sammlung W. P. Metzler (Frankfort-on-Main, 1898); Molinier, Les Plaquettes; I. B. Supino, Il Medagliere Mediceo nel R. Museo Nazionale di Firenze (Florence, 1899); L'Arte di Benvenuto Cellini (Florence, 1901); C. von Fabriczy, Medaillen der italienischen Renaissance (Leipzig); L. Forrer, Biographical Dictionary of Medallists, Eec. (London, 1904), &c. (W. M. R.; E. A. J.)
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Categories: CAU-CEY | Sculptors | Italian painters
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| | Cellini's autobiography - Autobiography of Benvenuto Cellini by Benvenuto Cellini - Project Gutenberg |
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