Cellini, BENVENUTO, a celebrated Italian goldsmith, sculptor, and engraver, and the author of one of the most interesting autobiographies ever written, was born in 1500 in Florence, a city which he was forced to quit in early life through having taken part in 'an affray.' He then travelled to Rome, where his skill as an artist in metal-work gained him the favour of the highest nobles and prelates. So anxious were his patrons to secure his services that they allowed him the utmost license of conduct. By his own account he was as expert with sword and dagger as with his goldsmith's tools, and he had apparently no scruple in murdering or maiming any who endeavoured to thwart him. He states that at the siege of Rome in 1527 it was he who killed the Constable Bourbon, and that he afterwards shot down the Prince of Orange before the castle of St Angelo. He stood for a time high in favour with Pope Clement VII., but was eventually flung into prison for the murder of a rival goldsmith. In 1534 he was pardoned and set free by Paul III., who wished him to engrave dies in the mint; soon afterwards, having spoken contemptuously of the pope's artistic tastes, he was cast into an oubliette of the castle of St Angelo. He escaped through his knowledge of the castle's vaults, but was immediately recaptured, and was only saved from the pope's vengeance by the intercession of Cardinal d'Este. For some years he lived alternately in Rome and Florence, Mantua and Naples. In 1537 he went to the court of Francis I. of France, by whom he was honourably received, and for whom he executed a golden spice-box, the design of which, he tells us, was so exquisite that the king 'uttered a loud outcry of astonishment on seeing it,' and 'could not satiate his eyes with gazing on it.' In Paris he became involved in a lawsuit. Having lost his case, he had recourse, as usual, to his dagger. 'I attacked,' he says, 'the 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.' This act went unpunished. Having given offence, however, to the reigning favourite at the French court, Cellini returned to Florence, where he worked under the patronage of Cosmo de' Medici, and where he executed his most successful piece of sculpture, the famous bronze 'Perseus with the head of Medusa' of the Loggia de' Lanzi. He began to write his autobiography in 1558, and died at Florence in 1571.
Cellini was a man of versatile fancy, passionately devoted to his art, and his technical skill was supreme. But his designs were often feeble and tasteless, and he seems to have had no sound knowledge of human anatomy. He has, on the whole, been somewhat overrated as an artist, and has been credited with the production of many beautiful cups and vases (such as the 'Cellini vase' in the British Museum) which were really the work of German silversmiths in the 16th century. But he has not been, and could not easily be, overrated as an author. His autobiography is a work of extraordinary interest. 'From the pages of this book,' says Mr Symonds, 'the Genius of the Renaissance, incarnate in a single personality, leans forth and speaks to us.' Though he had not the faculty of self-criticism, Cellini was a shrewd judge of others, and had a remarkable talent for portraying character. His book gives a faithful and a wonderfully vivid picture of Italian society in the 16th century. The animation of the narrative and the racy vigour of the style could hardly be surpassed. The keen insight and unblushing frankness of the writer make his work as fascinating to the student of human character as it is invaluable to the historian of the Renaissance. Cellini reveals all the evil and all the strength of his nature, his vindictiveness, braggartism, and self-worship, no less than his fiery energy and powerful intellect, his splendid self-reliance and passionate love of art. He is the most candid of autobiographers, and he is as ignorant of shame as he is candid. There is an admirable translation of this work by J. A. Symonds (1887; 4th ed. 1896). Goethe translated it into German. See the monograph by E. Plon (1882).