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Updated: May 25, 2025
Going to London then was worse than going to Russia now, and to take up a lengthy residence among questi diavoli ... quelle bestie di quegli Inglesi, as Cellini politely calls the English, did not suit a Southern taste. He had, moreover, private reasons for disliking Torrigiani, who boasted of having broken Michael Angelo's nose in a quarrel.
Among those who studied the arts of design in that garden, the following all became very excellent masters; Michelagnolo, the son of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others, of whom mention will be made in the proper places.
There arose under the supervision of the gifted engineer, worthy associate of Messer Torrigiani, a noble two-storied mansion of mellow red brick, flooded with light and sunshine by the enormously tall mullioned windows that rose almost from base to summit of each pilastered facade.
He must have already acquired considerable reputation as a workman, for about this time Torrigiani invited him to go to England in his company and enter the service of Henry VIII. The Renaissance was now beginning to penetrate the nations of the North, and Henry and Francis vied with each other in trying to attract foreign artists to their capitals.
The recovery of this portrait of the "divine poet" has occasioned fresh inquiry into the origin of the masks said to have been made from a cast of his face taken after death. One of these masks, in the possession of the Marquess of Torrigiani, has been pronounced as certainly the original.
Torrigiani lives in history chiefly for two pieces of work widely dissimilar in character the erection of the tomb of Henry VII of England, and the breaking of the nose of Michelangelo Buonarroti in the course of a quarrel which he had with him in Florence when they were fellow-students under Masaccio.
See the story as told by Torrigiani himself in Cellini, ed. Le Monnier, p. 23. After saying that he talked of love like Plato, Condivi continues: "Non senti mai uscir di quella bocca se non parole onestissime, e che avevan forza d' estinguere nella gioventù ogni incomposto e sfrenato desiderio che in lei potesse cadere." Compare Scipione Ammirato, quoted by Guasti, "Le Rime," p. xi.
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.
Consequently the temples project beyond the ears, and the ears beyond the cheeks, and these beyond the rest; so that the skull, in relation to the whole head, must be called large. The forehead, seen in front, is square; the nose, a little flattened not by nature, but because, when he was a young boy, Torrigiano de' Torrigiani, a brutal and insolent fellow, smashed in the cartilage with his fist.
But returning to Sebastiano: he also took a portrait of Signor Federigo da Bozzolo, and one of a captain in armour, I know not who, which is in the possession of Giulio de' Nobili at Florence. He painted a woman in Roman dress, which is in the house of Luca Torrigiani; and Giovan Battista Cavalcanti has a head by the same master's hand, which is not completely finished.
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