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Introductory NoteIntroductory Note
Introductory Note
Among the vast number of men who have thought fit to write down the
history of their own lives, three or four have achieved masterpieces which
stand out preeminently: Saint Augustine in his "Confessions," Samuel Pepys in
his "Diary," Rousseau in his "Confessions." It is among these extraordinary
documents, and unsurpassed by any of them, that the autobiography of Benvenuto
Cellini takes its place.
[See Benvenuto Cellini: Portrait of Benvenuto Cellini.]
The "Life" of himself which Cellini wrote was due to other motives than
those which produced its chief competitors for first place in its class. St.
Augustine`s aim was religious and didactic, Pepys noted down in his diary the
daily events of his life for his sole satisfaction and with no intention that
any one should read the cipher in which they were recorded. But Cellini wrote
that the world might know, after he was dead, what a fellow he had been; what
great things he had attempted, and against what odds he had carried them
through. "All men," he held, "whatever be their condition, who have done
anything of merit, or which verily has a semblance of merit, if so be they are
men of truth and good repute, should write the tale of their life with their
own hand." That he had done many things of merit, he had no manner of doubt.
His repute was great in his day, and perhaps good in the sense in which he
meant goodness; as to whether he was a man of truth, there is still dispute
among scholars. Of some misrepresentations, some suppressions of damaging
facts, there seems to be evidence only too good - a man with Cellini`s passion
for proving himself in the right could hardly have avoided being guilty of
such -; but of the general trustworthiness of his record, of the kind of man
he was and the kind of life he led, there is no reasonable doubt.
The period covered by the autobiography is from Cellini`s birth in 1500
to 1562; the scene is mainly in Italy and France. Of the great events of the
time, the time of the Reformation and the Counter-Reformation, of the strife
of Pope and Emperor and King, we get only glimpses. The leaders in these
events appear in the foreground of the picture only when they come into
personal relations with the hero; and then not mainly as statesmen or
warriors, but as connoisseurs and patrons of art. Such an event as the Sack of
Rome is described because Benvenuto himself fought in it.
Much more complete is the view he gives of the artistic life of the time.
It was the age of Michelangelo, and in the throng of great artists which then
filled the Italian cities, Cellini was no inconsiderable figure. Michelangelo
himself he knew and adored. Nowhere can we gain a better idea than in this
book of the passionate enthusiasm for the creation of beauty which has
bestowed upon the Italy of the Renaissance its greatest glory.
Very vivid, too, is the impression we receive of the social life of the
sixteenth century; of its violence and licentiousness, of its zeal for fine
craftsmanship, of its abounding vitality, its versatility and its idealism.
For Cellini himself is an epitome of that century. This man who tells here the
story of his life was a murderer and a braggart, insolent, sensual,
inordinately proud and passionate; but he was also a worker in gold and
silver, rejoicing in delicate chasing and subtle modelling of precious
surfaces; a sculptor and a musician; and, as all who read his book must
testify, a great master of narrative. Keen as was Benvenuto`s interest in
himself, and much as he loved to dwell on the splendor of his exploits and
achievements, he had little idea that centuries after his death he would live
again, less by his "Perseus" and his goldsmith`s work than by the book which
he dictated casually to a lad of fourteen, while he went about his work.
[See Model For The Perseus: Wax model for the "Perseus".]
The autobiography was composed between 1558 and 1566, but it brings the
record down only to 1562. The remainder of Cellini`s life seems to have been
somewhat more peaceful. In 1565 he married Piera de Salvadore Parigi, a
servant who had nursed him when he was sick; and in the care of his children,
as earlier of his sister and nieces, he showed more tenderness than might have
been expected from a man of his boisterous nature. He died at Florence, May
13, 1571, and was buried in The Church of the Annunziata in that city.
[See Shield: Shield attributed to Cellini.]
Introduction
This tale of my sore-troubled life I write,
To thank the God of nature, who conveyed
My soul to me, and with such care hath stayed
That divers noble deeds I`ve brought to light.
`Twas He subdued my cruel fortune`s spite:
Life glory virtue measureless hath made
Such grace worth beauty be through me displayed
That few can rival, none surpass me quite.
Only it grieves me when I understand
What precious time in vanity I`ve spent -
The wind it beareth man`s frail thoughts away.
Yet, since remorse avails not, I`m content,
As erst I came, Welcome to go one day,
Here in the Flower of this fair Tuscan land.
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