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Available
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Genres
Collection
Publication
Penguin (1981), Paperback, 400 pages
Description
Master Italian sculptor, goldsmith, and writer, Benvenuto Cellini is best remembered for his magnificent autobiography. In this work which was actually begun in 1558 but not actually published until 1730, Cellini beautifully chronicles his own flamboyant times. He tells of his adventures in Italy and France, his relations with popes and kings and with fellow artists. From Florence and Pisa to Siena and Rome, Cellini portrays a tumultuous period-the age of Galileo, Michelangelo and the Medicis-with an artist's eye for detail, and a curmudgeon's propensity for criticism. Cellini, according to his autobiographical account, seems to have lived a very full and active life, and his account of his exploits, though grandiloquent and somewhat suspect, are always entertaining. Renaissance historians such as Burkhardt were strongly influenced by this work, seeing it as confirmation that the key to the period is the emergence of modern individualism.… (more)
Media reviews
The Spirit Ring (Author's Note, p369)
"I highly recommend Cellini to all comers."
User reviews
LibraryThing member P_S_Patrick
Benvenuto Cellini was born in the year 1500 in Florence, and he begins to write this autobiography in 1558, before his death in 1572. This is a fantastic setting as it is here that the Renaissance began, and at the time of writiting it is about mid-way through and in full swing.
Cellini as a
Cellini is not shy in telling us how amazing his exploits and artistic achievements are, in fact he is an archetypal teller of tall tales and self agrandisements. From what remains of his works, such as the sculpture of Perseus holding the decapitated Medusa's head in the Loggia in Florence, we know that he has at least some justification to his claims, and it is difficult to pin him down on many definite fabrications, however unlikely many of his claims are. One such tale involves him escaping a castle where he has been imprisoned for years, by scaling its walls using tied-together bed sheets, however we know that he was imprisoned at least once and did escape, so it is just possible that many of his daring escapades are largely true, however fantastic his telling of them are. One story however that he won't get away with is the time he joined a necromancer in summoning demons in the Colliseum in Rome, but he seems quite convinved in his telling of it nonetheless.
This is probably one of the most exciting and revealing biographies ever written. It is not only entertaining on a pure action movie level, but also from a historical perspective in his gossipy dealings with everyone from Popes, dukes and Kings, to how he got on with his artistic contemporaries, workmen, and wenches. This autobiography would therefore appeal to almost anyone with a vagure interest in Italy, Art, History, scandal, or derring-do.
Cellini as a
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sculptor and goldsmith associates with a number of well known artists, including Michaelangelo, who was much older than him, and among others the painters Guilio Romano and Georgio Vasari, who were his contemporaries. He befriends, receives comissions from, and gets on the wrong side of various of the Medicis, Popes, and the King of France. Not only does he play the talented and inspired artist, but forays now and then into battle - at one point leading a defence of the Vatican by firing cannons from its roof during the sack of Rome. His love of conflict does not end there, and he seems to have the unfortunate talent of attracting people who are out to swindle or kill him, which he seems to take no small pleasure in dealing with, be they inn-keepers, rival sculptors, dukes or Popes. Cellini is not shy in telling us how amazing his exploits and artistic achievements are, in fact he is an archetypal teller of tall tales and self agrandisements. From what remains of his works, such as the sculpture of Perseus holding the decapitated Medusa's head in the Loggia in Florence, we know that he has at least some justification to his claims, and it is difficult to pin him down on many definite fabrications, however unlikely many of his claims are. One such tale involves him escaping a castle where he has been imprisoned for years, by scaling its walls using tied-together bed sheets, however we know that he was imprisoned at least once and did escape, so it is just possible that many of his daring escapades are largely true, however fantastic his telling of them are. One story however that he won't get away with is the time he joined a necromancer in summoning demons in the Colliseum in Rome, but he seems quite convinved in his telling of it nonetheless.
This is probably one of the most exciting and revealing biographies ever written. It is not only entertaining on a pure action movie level, but also from a historical perspective in his gossipy dealings with everyone from Popes, dukes and Kings, to how he got on with his artistic contemporaries, workmen, and wenches. This autobiography would therefore appeal to almost anyone with a vagure interest in Italy, Art, History, scandal, or derring-do.
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LibraryThing member lbowman
I loved this book. I bought it in Florence and read it while resting in cafés from bouts of sightseeing. It's fascinating; he is such a vivid character, and utterly appealing despite it total self-absorption. Perhaps it's the anxiety you can see under his apparent certainty that he's the greatest
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artist that ever lived (except for the divine Michelangelo, who praised one of his works once, something that clearly means more to him than any other accolade he ever garnered.) I remember reading his account of how he managed to cast Perseus with the head of the Medusa, for which he had to develop an entire new bronze-casting technique, while sitting in café just off the main square; and I looked up and right beside me was - Perseus, holding the head of the Medusa; the very statue he was talking about. (A copy, I grant you; the original's in the Uffizi.) I recommend this book to anyone, not just for its fascinating account of a silversmith's life in 16th century Florence (and various other places, as Cellini outran his creditors and enemies from one town to the next), but to learn more about Cellini, a fascinating character (whom it well behooved one to pay only on the completion of the work ...) Show Less
LibraryThing member Cecrow
This story of a man 500 years dead is burgeoning with life. Benvenuto Cellini is not so well known for his artistry today as Leonardo or Michaelangelo, but he was close their echelon. It is primarily his autobiography that secured him lasting fame. He was a goldsmith in Florence and Rome, and a
It seems at that time it was nothing to settle one's differences by violence in the street, preferably in front of witnesses who could attest it had been a matter of honour. Benvenuto was not one to stand down from a confrontation with anyone, not even a pope or duke whose favour he enjoyed, if pride was on the line. Unfortunately he could not apply that solution to contractors, who could be as frustrating then as now to deal with, "like shouting at a collection of lame donkeys led by a blind boy", or to the many others who took advantage of him, often including his patrons.
Interspersed scenes like the necromancy at the colosseum cast a shade of doubt over some of the proceedings. I wish a stronger shade of doubt could be cast over his confessed treatment of women and underage girls. Otherwise the degree of detail with which he recalls a sequence of events, or the conversations he had and the places he went, is astounding. My edition's footnotes back up a enormous amount of it. There's not a chapter break to be seen and it reads like one single unrolling memory, life as story, suitably ending as if only pausing for breath.
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master of several related fields besides. The products of supreme artists in this period made a splash comparable to a blockbuster Hollywood movie or top-earning concert today, and Cellini pleased his audiences without fail.It seems at that time it was nothing to settle one's differences by violence in the street, preferably in front of witnesses who could attest it had been a matter of honour. Benvenuto was not one to stand down from a confrontation with anyone, not even a pope or duke whose favour he enjoyed, if pride was on the line. Unfortunately he could not apply that solution to contractors, who could be as frustrating then as now to deal with, "like shouting at a collection of lame donkeys led by a blind boy", or to the many others who took advantage of him, often including his patrons.
Interspersed scenes like the necromancy at the colosseum cast a shade of doubt over some of the proceedings. I wish a stronger shade of doubt could be cast over his confessed treatment of women and underage girls. Otherwise the degree of detail with which he recalls a sequence of events, or the conversations he had and the places he went, is astounding. My edition's footnotes back up a enormous amount of it. There's not a chapter break to be seen and it reads like one single unrolling memory, life as story, suitably ending as if only pausing for breath.
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LibraryThing member Loptsson
This book is incredible fun! If you enjoy medieval art and history you must absolutely read this book. An artist, a fighter, one intrigued by the occult, you name it you really have it all in this book. He really lived an amazing life no wonder his story still intrigues us today!
LibraryThing member carterchristian1
Great read. Worth waiting for. Wonderfuli illustrations
LibraryThing member DinadansFriend
A very egotistical account of a real Renaissance man. Benvenuto did have many adventures, and this is his version of them all. Not a man who did much soul searching, but he covers his prison break, and his possible killing of a prince. The format is repetitive in his description of his working
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life, but it is justly deemed a classic early biography. You might want to follow this book with the "History of Bayard" by "A loyal Servitor" for proof that the autobiographical form was evolving quickly at this time. Show Less
LibraryThing member radstar121
For those interested in the art of autobiographical writing or the art of the Renaissance may like this book or find it tolerable. The man is arrogant and loves his art for a quick summation of the book. While it is very much the style of classical Renaissance literature the book itself becomes
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stifling. However, because it is one of the first autobiographies ever written it will remain to be read. Show Less
LibraryThing member robertsgirl
James O. Bennett says, "There is no more fantastic or contradictory great man in human annals. He had the tongue of a scorpion and the vanity of a child. He could do almost everything, and he did nothing ill." Sculptor, Renaissance man who knew all the greats, Leonardo, Titian, Michelangelo. Wild
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stories. Show Less
LibraryThing member Ibreak4books
If you're an artist, you MUST read this book. It makes the Renaissance in Italy come alive. Cellini is such a character and has such a big ego, the book is one of the funniest and smartest I've read in a long time. I wish I had known him...how many autobiographies do you say that after?
LibraryThing member JVioland
What a blow-hard! But easy to read and one falls in love with this character. Another take on the Renaissance from one living in it and contributing his art to it.
LibraryThing member dylkit
When you get a first-person account from 500 years ago, you really hope to read about details of everyday life, what people ate, where they lived, what they wore..
but of course those are not the things people think to record, nor it is it Cellini's intent to record the minutiae of every day life..
There were some puzzling medical mysteries that I wish some one should shed some light on. The governor of the prison has a complaint where he is convinced he is a bottle of oil, and then a bat. This sis the same prison where Cellini has a series of religious visions, so perhaps there is something in the water?
It is an authentic voice from the past, and you don't have to like him.He probably doesn't like you ,anyway.
but of course those are not the things people think to record, nor it is it Cellini's intent to record the minutiae of every day life..
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Instead, this is Cellini's attempt to set the record straight against anyone who he feels hard done by , i.e. everyone. He is constantly mortally offended, and takes revenge, occasionally violently. He destroys the bedding in an inn after the landlord has the temerity to ask him to pay up front.There were some puzzling medical mysteries that I wish some one should shed some light on. The governor of the prison has a complaint where he is convinced he is a bottle of oil, and then a bat. This sis the same prison where Cellini has a series of religious visions, so perhaps there is something in the water?
It is an authentic voice from the past, and you don't have to like him.He probably doesn't like you ,anyway.
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LibraryThing member mykl-s
I remember more than anything else the ego of Cellini.
Subjects
Language
Original language
Italian
Original publication date
1558-1566: Written
1728: First printed edition
Physical description
400 p.; 7.1 inches
ISBN
0140440496 / 9780140440492
Other editions
The Autobiography of Benvenuto Cellini by Benvenuto Cellini (Hardcover)