Showing posts with label Benvenuto Cellini. Show all posts
Showing posts with label Benvenuto Cellini. Show all posts

13 February 2018

Benvenuto Cellini – sculptor and goldsmith

Creator of the famous Perseus bronze had a dark history


Cellini's bronze of Perseus and the Head of Medusa in Piazza della Signoria in Florence
Cellini's bronze of Perseus with the Head of
Medusa
in Piazza della Signoria in Florence
The colourful life of the Renaissance artist Benvenuto Cellini ended on this day in 1571 with his death in Florence at the age of 70.

A contemporary of Michelangelo, the Mannerist Cellini was most famous for his bronze sculpture of Perseus with the Head of Medusa, which still stands where it was erected in 1554 in the Loggia dei Lanzi of the Piazza della Signoria in Florence, and for the table sculpture in gold he created as a salieri - salt cellar - for Francis I of France.

The Cellini Salt Cellar, as it is generally known, measuring 26cm (10ins) by 33.5cm (13.2ins), is now kept at the Kunsthistorisches Museum in Vienna, with an insurance value of $60 million.

His works apart, Cellini was also known for an eventful personal life, in which his violent behaviour frequently landed him in trouble. He killed at least two people while working in Rome as a young man and claimed also to have shot dead Charles III, Duke of Bourbon, during the 1527 Siege of Rome by mutinous soldiers of the Holy Roman Emperor, Charles V.

Cellini was also imprisoned for alleged embezzlement of the gems from the tiara of Pope Clement VII, famously escaping from jail at the Castel Sant’Angelo by climbing down a rope of knotted bedsheets, and for immorality.

He was a self-confessed bisexual, being found guilty of sodomy on a number of occasions.  One such charge, brought following accusations made by a male apprentice in his Florence workshop, led to a prison sentence of four years, commuted to house arrest following the intervention of the Medici family.

Cellini's extraordinary salt cellar in gold is insured for a value of $60 million
Cellini's extraordinary salt cellar in gold is insured
for a value of $60 million
Much of this is known because Cellini documented his life in an autobiography, the first by a significant Renaissance figure, in which he shared the details of his racy exploits. 

Cellini was apprenticed as a metalworker in the studio of the Florentine goldsmith Andrea di Sandro Marcone. He might have stayed in Florence had he not twice had to leave to escape the consequences of his violent behaviour.

After fleeing to Rome, he worked for the bishop of Salamanca, Sigismondo Chigi, and Pope Clement VII, which is how he came to participate on the side of the pontiff in defending Rome against the imperial forces in 1527, where he claimed not only to have killed Charles III of Bourbon but also to have shot, possibly fatally, the Prince of Orange, Philibert of Chalon.

Having survived the sack of Rome, he returned to Florence and in 1528 worked in Mantua, making a seal for Cardinal Gonzaga, which is now the property of the city’s Episcopal Archives.  Back in Rome, he then executed several works in gold for Clement VII, although apart from two medals made in 1534, which can be seen at the Uffizi in Florence, none survive.

His violent ways continued. After his brother, Cecchino, had killed a corporal of the Roman Watch and in turn received fatal wounds from the gun of another soldier, Cellini meted out his own justice by murdering his brother’s killer. He later murdered another man, this time a rival goldsmith.

A portrait bust of Cellini by Raffaello Romanelli  can be found on Florence's Ponte Vecchio
A portrait bust of Cellini by Raffaello Romanelli
 can be found on Florence's Ponte Vecchio
Amazingly, he was absolved by Clement VII’s successor, Pope Paul III, but the following year, having wounded a notary, he fled from Rome and settled back in Florence.

He made his first visit to France as a guest of Francis I in 1538. It was two years later that he arrived at Fontainebleau, carrying with him an unfinished salieri, which he had originally offered to Cardinal Ippolito d’Este of Ferrara, and which he now completed in gold for the French king. The piece, which has the figures of a man and a women symbolising the sea and the Earth, and in which tiny models of a ship and a temple were intended to be receptacles for the condiments, is the only surviving fully authenticated Cellini work in precious metal. Modelled by hand rather than cast, it has been dubbed the Mona Lisa of small sculptures.

While in France, Cellini modelled and cast his first large-scale work, a large bronze lunette of the Nymph of Fontainebleau for the entrance to the Louvre.

He left Paris to return to Florence in 1545, at which point he was welcomed by Cosimo de’ Medici and entrusted with the commissions for the bronze Perseus in the Loggia dei Lanzi, and for a colossal bust of the Grand Duke of Tuscany, now at the Bargello museum, a short distance away.

Cellini’s other late works include his marble figures of Apollo and Hyacinth (1546) and of Narcissus (1546–47), which are also in the Bargello, as is a small relief of a greyhound made as a trial cast for the Perseus (1545).

There is a statue of Cellini in the  Piazzale degli Uffizi
There is a statue of Cellini in the
Piazzale degli Uffizi
After the unveiling of the Perseus, he began work on a marble crucifix originally intended for his own tomb in the Florence church of Santissima Annunziata, but now in the church of the royal monastery of the Escorial in Spain.

He began to write his autobiography in 1558 and completed it in 1562, dictating the text to an assistant in his workshop.

First printed in Italy in 1728, the book was translated into English in 1771. Composed in colloquial language, it is enormously valuable in providing a first-hand account of life in Clement VII’s Rome, the Paris of Francis I, and the Florence of Cosimo de’ Medici.

Michelangelo's David (left) and Bartolommeo Bandinelli's Hercules and Cacus in Florence's Piazza della Signoria
Michelangelo's David (left) and Bartolommeo Bandinelli's
Hercules and Cacus in Florence's Piazza della Signoria
Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is home to a series of important sculptures, including Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Baccio Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copies of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.


The Palazzo del Bargello in Via del Proconsolo is home to many masterpieces
The Palazzo del Bargello in Via del Proconsolo
is home to many masterpieces
Travel tip:

As well as works by Cellini, other great Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo. The museum houses masterpieces by Michelangelo, Donatello, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.

More reading:




Also on this day:





(Picture credits: Perseus statue by Denise Zavala; Cellini Salt Cellar by Jerzy Strzelecki; Romanelli bust by Grzegorz Gołębiowski; Uffizi statue by Jebulon; Piazza della Signoria statues by Richard White; Palazzo Bargello by Kandi; all via Wikimedia Commons)









24 November 2017

Pietro Torrigiano – sculptor

Achievements overshadowed by assault on Michelangelo


Pietro Torrigiano was born in Florence in 1472
Pietro Torrigiano was born in Florence in 1472
Pietro Torrigiano, the sculptor credited with introducing Renaissance art to England in the early years of the 16th century but who is best remembered for breaking the nose of Michelangelo in a fight, was born on this day in 1472 in Florence.

The incident with the man who would become the greatest artist of their generation came when both were teenagers, studying in Florence under the patronage of Lorenzo de’ Medici.

Torrigiano was older than Michelangelo by two and a half years and confessed some years later that he found his young rival to be somewhat irritating, especially since it was his habit to peer over the shoulders of his fellow students and make disparaging comments about the quality of their work.

On the occasion they clashed, when Michelangelo was said to be about 15, he was with Torrigiano and some others in the church of Santa Maria del Carmine, studying frescoes by Masaccio.  Looking at a sketch Torrigiano was making, the younger boy made some slighting remark and Torrigiano lashed out.

He caught him such a blow that Michelangelo, who was knocked out cold at the time, suffered a broken nose and a disfigurement he would carry for life.


Torrigiano's tomb of Henry VII in Westminster Abbey
Torrigiano's tomb of Henry VII in Westminster Abbey
Torrigiano knew he would be in trouble and when word reached him that Lorenzo de’ Medici was incensed by the incident he fled Florence for Rome.

He would not return to the Tuscan city until more than a quarter of a century had passed, by which time Michelangelo was famous, the creator of masterpieces of sculpture such as his Pietà and David, and the wonderful frescoes that adorned the Sistine Chapel.

In conversation with Benvenuto Cellini, a young sculptor he was trying to recruit as an assistant, Torrigiano confessed to having been the man responsible for Michelangelo’s crooked nose, explaining that he was regularly annoyed by Michelangelo’s sniping comments but on this occasion had let his temper get the better of him.

He is said to have told Cellini: “I got more angry than usual, and clenching my fist, gave him such a blow on the nose that I felt bone and cartilage go down like biscuit beneath my knuckles; and this mark of mine he will carry with him to the grave.”

At the time it happened, though, Torrigiano made no such confession.  To escape the Medici wrath, he went to Rome, where he worked briefly with Pinturicchio, but soon put his artistic ambitions to one side and essentially went on the run.

Torrigiano's extraordinarily lifelike sculpture of Henry VII in terracotta
Torrigiano's extraordinarily lifelike sculpture
of Henry VII in terracotta
A bullish man and something of a braggart, he made a living for a while as a professional soldier, moving from one state to another. 

He is thought to have been invited to England by Henry VIII, who was looking for a court artist shortly after the death of his father, Henry VII.

Torrigiano created sculptures in terracotta of Henry VII, Henry VIII and John Fisher, the Roman Catholic bishop that Henry VIII would ultimately have killed.  He is also thought to have made an extremely lifelike funeral effigy of Henry VII.

Henry VIII ultimately commissioned Torrigiano to created the magnificent tomb of his father and his queen that can still be admired in the Henry VII Lady Chapel in Westminster Abbey.  When he met Cellini in Florence in about 1518, he was trying to recruit young artists to work with him in England on other commissions in the Abbey.

Cellini, horrified at his confession, refused to take up his offer and Torrigiano left Italy again, never to return.

He spent the last few years of his life in Sevilla in Spain, where the Museum of Fine Arts houses his sculpture of Saint Jerome (Hieronymus), which he finished in 1525.

Still inclined to outbursts of violent temper, he became well known to the authorities and was often in trouble.  In fact, he died in prison in 1528 at the age of 55.

Inside the church of Santa Maria del Carmine
Inside the church of Santa Maria del Carmine 
Travel tip:

The church of Santa Maria del Carmine, of the Carmelite Order, is in the Oltrarno area of Florence. The Renaissance frescoes by Masaccio and Masolino di Panicale can be found in the Brancacci Chapel. The church was built in 1268, enlarged in 1328 and 1464 and renovated in Baroque style in the 16th and 17th centuries.

Part of Pinturicchio's fresco cycle at the Borgia Apartments
Part of Pinturicchio's fresco cycle at the Borgia Apartments
Travel tip:

During his brief time in Rome, Torrigiano worked with Pinturicchio – real name Bernardino di Betto – on decorating the Borgia Apartments, a suite of rooms in the Apostolic Palace adapted for personal use by Pope Alexander VI (Rodrigo de Borgia), with paintings and frescoes.  After Rodrigo’s death in 1503 the rooms remained little used for centuries but are now considered part of the Vatican Library.




17 October 2017

Bartolommeo Bandinelli - Renaissance sculptor

Career scarred by petty jealousies


Bartolommeo Bandinelli - a self-portrait
Bartolommeo Bandinelli - a self-portrait
The sculptor Bartolommeo Bandinelli, a contemporary and rival of Michelangelo and Benvenuto Cellini in Renaissance Italy, was born on this day in 1473 in Florence.

He left his mark on Florence in the shape of the monumental statue of Hercules and Cacus in the Piazza della Signoria and his statues of Adam and Eve, originally created for the Duomo but today housed in the Museo Nazionale del Bargello.

Also known as Baccio Bandinelli and Bartolommeo Brandini, he was skilled in small sculptures but became known and disliked for his antagonistic manner with other artists and his particular hatred of Michelangelo, of whom he was bitterly jealous.

Giorgio Vasari, the artist and sculptor who was the first to compile a written history of art and artists, and who was a student in Bandinelli’s workshop, recalled an occasion when Bandinelli was so enraged by the excitement that ensued when a Michelangelo drawing was uncovered in the Palazzo Vecchio that, as soon as an opportunity arose, he tore it up.

Where Michelangelo was revered for everything he did, Bandinelli’s critics said he lacked the skills required to tackle large sculptures.

Bandinelli's Hercules and Cacus
Bandinelli's Hercules and Cacus
This only drove him to want to prove them wrong, and to this end it is thought that he persuaded the ruling Medici family to give him the commission for the statue of Hercules and Cacus – originally intended for Michelangelo, who was busy working on the Medici Chapel.

Yet when the work was unveiled in 1534 it attracted ridicule, in particular from Cellini.   Where Michelangelo, whose David already stood in the Piazza, had a gift for imbuing his creations with a sense of realism and drama, Bandinelli’s figures - in the eyes of his critics at least – lacked character and authenticity.

Much more favourably received were his bronze copy of the ancient Greek statue Laocoon and his Sons, his tombs of the Medici popes Leo X and Clement VII in Rome and his Monument to Giovanni delle Bande Nere, the Medici condottiero (professional soldier).

Bandinelli was the son of a prominent Florentine goldsmith. As a boy, he was apprenticed under Giovanni Francesco Rustici, a sculptor friend of Leonardo da Vinci.

Later in his career, he was a leader in the group of Florentine Mannerists who were inspired by the revived interest in Donatello.

Some of his works in terracotta were hailed as masterpieces and some of his drawings have been difficult to establish as not being by Michelangelo.

Bandinelli's Pietà in the Basilica della Santissima Annunziata
Bandinelli's Pietà in the Basilica della Santissima Annunziata
Yet he continued to attract scorn whenever he took on a large project, his Pietà in the Basilica della Santissima Annunziata being another example.  Bandinelli began work on it only after he heard about Michelangelo’s similar commission in Rome.

It was completed in 1559 and again brought unfavourable comments from other artists, some of whom said that it lacked refinement, his figures appearing somewhat awkward and oddly positioned compared with the grace and beauty of Michelangelo’s work.

The other complaint against Bandinelli, voiced by Vasari, was that he accepted commissions too hastily and failed to complete many of them, although there are enough examples of his work in museums and galleries to refute that claim.

However, Vasari’s detailed Lives of the Artists also gives praise where it was due and acknowledges Bandinelli was a sculptor of merit, and in recent years his talent has been better appreciated, culminating in the first exhibition devoted to his work alone, in the Bargello museum in Florence.

Cellini's Perseus with the Head of Medusa
Cellini's Perseus with the Head of Medusa
Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is an open-air museum of Renaissance art, featuring a series of important sculptures, the most famous of which are Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Cellini’s Perseus with the Head of Medusa (next to The Rape of the Sabine Women in the Loggia dei Lanzi), Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copes of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.

The Bargello in Via del Proconsolo
The Bargello in Via del Proconsolo
Travel tip:

More Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo, in a fortified 13th century building that was once a prison. The museum houses masterpieces by Michelangelo, Donatello, Cellini, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.




6 May 2017

The Sack of Rome

Mutinous army of Holy Roman Empire laid waste to city


Imperial forces attack Rome
Imperial forces attack Rome
An army loyal to the Holy Roman Emperor, Charles V, laid siege to the city of Rome on this day in 1527, at the start of the Sack of Rome, a significant event in the conflict between Charles and the so-called League of Cognac that had profound implications for Rome’s wealth and power.

Rome at the time was part of the Papal States, who at the behest of Pope Clement VII had joined the League of Cognac – an alliance that included France, Milan, Florence and Venice – in an effort to stop the advance of the Empire, which had its centre of power in the Kingdom of Germany, into the Italian peninsula.

After the Imperial Army had defeated the French at Pavia in the Italian War of 1521-26, it would have been a logical step for Charles to march on Rome but the attack is said to have come about not through any planned strategy but after a mutiny among his troops, many of whom were hired mercenaries, after it became clear there were insufficient funds available to pay them.

Pope Clement VII, depicted by Sebastiano del Piombo in 1531
Pope Clement VII, depicted by Sebastiano
del Piombo in 1531
Aware of the rich treasures they could seize if they stormed Rome and overthrew Clement VII, 34,000 Imperial troops, an army made up of Germans, Spaniards and Italians, demanded that their commander, Charles III, Duke of Bourbon, led them towards Rome.

They left Arezzo in Tuscany on April 20 and, with the army of Florence distracted by an uprising against the Medici, proceeded without too much resistance to the walls of Rome.

The walls were substantial physically but poorly defended. Under the command of Francesco Guicciardini, the city’s garrison numbered only 8,000 men, including the 2,000-strong Swiss Guard.

They had the advantage of artillery around the perimeter of the city but though the Duke of Bourbon was himself shot dead - legend has it by the sculptor Benvenuto Cellini - the ferocity of the Imperial soldiers overwhelmed the defending army, which crumbled rapidly. The invaders swept into the city, killing almost everyone they encountered, armed or otherwise. By sunset, Rome was under their control.

The Pope’s personal protection amounted to 189 of the Swiss Guard, who fought bravely on the steps of St. Peter’s Basilica. All but 42 were killed but they created enough delay to allow Clement VII to escape along a tunnel, the Passetto di Borgo, into the fortress of Castel Sant’Angelo.

There he was besieged as the pillage of the city began. The Protestant Landsknecht – the 14,000 strong German core of the Imperial troops – are said to have harboured a particular hatred for Catholic Rome and its Renaissance treasures. Churches and monasteries, as well as the palaces of prelates and cardinals, were looted and destroyed. The rampaging soldiers would spare lives and properties only in return for ransom payments.

Clement VII escaped to Castel Sant'Angelo along a secret passage while the Swiss Guard fought on the steps of St Peter's
Clement VII escaped to Castel Sant'Angelo along a secret
passage while the Swiss Guard fought on the steps of St Peter's
Meanwhile, on May 8, Cardinal Pompeo Colonna, a personal enemy of Clement VII, entered the city, accompanied by peasants seeking to avenge the devastation to their land by Papal armies.

Clement surrendered in June, agreeing to pay a huge ransom and hand over substantial territory to Charles V, who was said to be shocked by the brutal conduct of his troops but happily accept the advantage he had gained.

The defeat effectively marked the end of the Roman Renaissance, damaging the papacy's prestige.  An estimated 6,000 to 12,000 people were murdered and the population of Rome declined in the years following from 55,000 to 10,000.

The pillaging lasted nine months, ending when there was no one left to ransom and food supplies ran out.  Ironically, many Imperial soldiers themselves died from from diseases caused by the large number of unburied bodies in the city.

Today, in commemoration of the Sack and of the Swiss Guard's bravery in protecting Clement VII, May 6 is the designated day each year for new recruits to the Swiss Guard to be sworn in.

The view across Rome from the Gianicolo hill
The view across Rome from the Gianicolo hill
Travel tip:

The Gianicolo – or Janiculum – is one of the hills outside the walls of ancient Rome from which the 1527 attack was launched. Today it provides one of the best locations to enjoy a scenic view of the centre of the city and its domes and bell towers. The Gianicolo itself is the home of the church of San Pietro in Montorio, built on what was once thought to be the site of St Peter's crucifixion. A small shrine, the Tempietto, designed by Donato Bramante, marks the supposed site of Peter's death. The hill is also the location of The American University of Rome, Pontifical Urban University, and Pontifical North American College. Other notable buildings include the Palazzo Montorio, residence of the Ambassadors of Spain, and the Villa Lante al Gianicolo, designed in 1520 by the Mannerist painter and architect Giulio Romano.

The swearing-in ceremony for the papal Swiss Guard takes place in the courtyard of San Damaso on May 6
The swearing-in ceremony for the papal Swiss Guard
takes place in the courtyard of San Damaso on May 6
Travel tip:

The protection provided to the pope by the Swiss Guard goes back to a 15th century alliance between Pope Sixtus IV and the Swiss Confederacy, which in turn resulted in the Swiss supplying a contingent of 200 mercenaries to be based permanently at the Vatican at the request of  PopeJulius II. The defence of the pontiff in 1527 remains their most significant military action. The loss of the 147 guards killed on the steps of St Peter’s is marked each year with a ceremony in the San Damaso courtyard inside the Apostolic Palace, open to members of the public, at which the year’s input of new recruits to the Guard are sworn in.


More reading:


Francesco Guicciardini - statesman, military leader, historian

How Rome was founded

Preacher Girolamo Savonarola's 'war' on the Renaissance


Also on this day:


1895: The birth of silent movie star Rudolph Valentino