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Updated: May 8, 2025
I shall have occasion later on to discuss Cellini's religious opinions; but here it may be remarked that the feeling of this passage is thoroughly sincere and consistent with the spirit of the times. The separation between religion and morality was complete in Italy.
The masters paid more attention to the arts than to mechanics, and it was the period of beautiful watches of iron, copper, wood, silver, which were richly engraved, like one of Cellini's ewers. They made a masterpiece of chasing, which measured time imperfectly, but was still a masterpiece.
Not less interesting is the description of Cellini's daring escape from the castle. In climbing over the last wall, he fell and broke his leg, and was carried by a waterman to the palace of the Cardinal Cornaro. There he lay in hiding, visited by all the rank and fashion of Rome, who were not a little curious to see the hero of so perilous an escapade.
The extraordinary effect, as of something superhuman, produced by the Cartoon upon contemporaries, and preserved for us in Cellini's and Vasari's narratives, must then have been due to unexampled qualities of strength in conception, draughtsmanship, and execution.
Cellini's Memoirs, written in the height of pagan Renaissance, well express the aversion which a Florentine or Roman felt for the inhospitable wildernesses of Switzerland.
By moonlight there is thus formed a semicircle of light on the grass, which continually moves before you; it is a halo on the grass-tips. I noticed this as a boy, and tried all sorts of experiments respecting it, but never met with any mention of it in books till quite lately, in Benvenuto Cellini's "Autobiography."
His Fame His Autobiography Its Value for the Student of History, Manners, and Character, in the Renaissance Birth, Parentage, and Boyhood Flute-playing Apprenticeship to Marcone Wanderjahr The Goldsmith's Trade at Florence Torrigiani and England Cellini leaves Florence for Rome Quarrel with the Guasconti Homicidal Fury Cellini a Law to Himself Three Periods in his Manhood Life in Rome Diego at the Banquet Renaissance Feeling for Physical Beauty Sack of Rome Miracles in Cellini's Life His Affections Murder of his Brother's Assassin Sanctuary Pardon and Absolution Incantation in the Colosseum First Visit to France Adventures on the Way Accused of Stealing Crown Jewels in Rome Imprisonment in the Castle of S. Angelo The Governor Cellini's Escape His Visions The Nature of his Religion Second Visit to France The Wandering Court Le Petit Nesle Cellini in the French Law Courts Scene at Fontainebleau Return to Florence Cosimo de' Medici as a Patron Intrigues of a petty Court Bandinelli The Duchess Statue of Perseus End of Cellini's Life Cellini and Machiavelli.
A student of Cellini's Memoirs, of Florentine history, and of the dark stories in which the private annals of the age abound, will be forced to admit that imaginative men of acute nervous susceptibility, who loved a quiet life and wished to keep their mental forces unimpaired for art and thought, were justified in feeling an habitual sense of uneasiness in Italy of the Renaissance period.
And that the father chose Paris for this purpose, where he left Philip on his return journey, might well be due either to his own estimation of Jerome David, to whom Philip was indentured, or to the fact that Benvenuto Cellini's presence at Paris afforded some advantage; or that his own promised return to Basel would make it preferable to have the lad on the same side of the Channel as all his family.
The vacancy of their expression proves the degradation of an art that had ceased to idealise anything beyond a faultless body. Not thus did the Greeks imagine even their most sensual divinities. There is at least a thought in Faun and Satyr. Cellini's statues have no thought; their blank animalism corresponds to the condition of their maker's soul.
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