Scenery paintings by cellini8/18/2023 ![]() ![]() Peter’s occupies a prominent position on the Vatican hill the Pantheon and Colosseum are depicted on the left. ![]() Illustration of Rome from the Nuremberg Chronicle, published in the late 15th century. The persistence with which he badgered patrons five centuries on is tangible, as are the looks on the faces of popes and kings as he pops his face round the door for another tirade on what he’s owed. The hands go up in surrender: ‘Enough, Benvenuto, please – you were right’. In the last third of the book, one pleads with him not to launch into another, forensic analysis of how he has been wronged, slandered, robbed or treated disdainfully. That can be the only explanation for the endless superfluity of praise heaped upon him, his inestimable courage against all the odds and the self-pitying figure that frequently appears. It is by turns an absorbing and exasperating read.Īll autobiographies whitewash to varying degrees, but Cellini seems never to have re-read the work he was having transcribed. Weaved between these orgies of violence are vivid sketches of daily life in Renaissance Rome. His Autobiography, is one long self-justification for some petulant, violent, and oftentimes downright abhorrent, conduct. ![]() There cannot have existed a more rash, hot-headed human being - let alone artist - alive in the sixteenth century. Cellini would likely respond with a threat to cut my throat (and let there be no doubt that he would carry it out). Were it possible to talk with Cellini today, one would have to challenge him on the definition of ‘insignificant’. This talented and energetic goldsmith and sculptor (and multiple murderer) tells us throughout that he doesn’t want to dwell on insignificancies. One puts down Benvenuto Cellini’s Autobiography with a long exhalation. The master goldsmith with a talent for violence ![]()
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