Abstract
Much of what we know about Benvenuto Cellini comes from his own pen. He was born in Florence in Via Chiara on 3 November 1500 to Giovanni Cellini and Elisabetta Granacci. The Cellini family originated in Val D’Ambra, between Siena and Arezzo, but had lived in Florence since the time of Cellini’s great-grandfather. His grandfather Andrea was listed as a bricklayer (muratore) in the Florentine tax records, known as the Catasto, of 1487.1 His father, a court musician, artist, architect, and engineer, called his son Benvenuto (Welcome) after his wife and the midwife told him to expect another girl, a third daughter. Giovanni hoped that Benvenuto would follow in his footsteps and study music, his passion and part-time occupation. His son acquiesced to please his father but only if he could also study the art of drawing using the sketches of Leonardo and Michelangelo as models and be apprenticed to a local goldsmith. Cellini’s youth was spent primarily in Florence at the shops of various goldsmiths. At the age of thirteen or fourteen, he was apprenticed at the workshop of Baccio Bandinelli’s father, Michelangelo di Viviano. At fifteen he joined the shop of Antonio Giamberti, known as “Marcone.” At eighteen, he worked at the shop of Francesco Salimbene; and at twenty-one, at Giovambattista Sogliani’s. During these years Cellini spent some time in Siena, Pisa, and Bologna.
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Notes
Timothy J. McGee, “In the Service of the Commune: The Changing Role of Florentine Civic Musicians, 1450–1532,” Sixteenth Century Journal 30 (1999): 736.
Timothy J. McGee, “Giovanni Cellini, piffero di Firenze,” Rivista italiana di musicologia 32, no. 2 (1997): 220–21.
On the autograph, see Orazio Bacci, “Il codice mediceo-palatino 2342 della R. Biblioteca Mediceo-Laurenziana,” Rivista delle Biblioteche e degli Archivi 7, no. 1 (1896): 1–11.
Bruno Maier, “Le Rime di Benvenuto Cellini,” Annali Triestini 22 (1952): 307–58.
John Pope-Hennessy, “A Bronze Satyr by Cellini,” The Burlington Magazine 124 (1982), 409.
Michael W. Cole, “Cellini’s Blood,” Art Bulletin 81, no. 2 (1999): 223.
Ingrid Rowland, “The Real Caravaggio,” NYRB 46, no. 15 (1999), 14.
James M. Saslow, “A Veil of Ice Between my Heart and the Fire’: Michelangelo’s Sexual Identity and Early Modern Constructs of Homosexuality,” Genders 2 (1988): 77–90.
Jonathan Goldberg, “Cellini’s Vita and the Conventions of Early Autobiography,” MLN 89 (1974): 71–83
Another contribution to the study of the Vitas spiritual aspects is the article by Yemin Chao, “Two Renaissance Lives: Benvenuto Cellini and Teresa of Jesus,” Renaissance and Reformation new ser. 23, no. 2 (1999): 29–44.
I refer to Vasari’s tondo of Cosimo and his artists in the Salone dei Cinquecento in the Palazzo Vecchio in Florence (ca. 1559). Following Charles Davis and Pope-Hennessy, I believe that Cellini is one of the two figures in the background to the viewer’s left (Charles Davis, “Benvenuto Cellini and the Scuola Fiorentina,” North Carolina Museum of Art Bulletin 13, no. 4 (1976), 21
For the characteristics of Cellini’s hand that are different from the hand of the copyist of the Laurenziana manuscript, see Orazio Bacci, “Il Codice Mediceo-Palatino 2342 della R. Biblioteca Mediceo-Laurenziana,” Rivista delle biblioteche e degli archivi 7, no. 1 (1896): 10
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© 2003 Margaret A. Gallucci
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Gallucci, M.A. (2003). Benvenuto Cellini, Life and Works. In: Benvenuto Cellini. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-12208-7_2
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