As for the great King, I have already said that I was making good progress with the work I was doing for him, and then he returned to Paris, and on the third day after his arrival he visited me with a large escort of the most important nobles of the court. He was amazed at how much work I had on hand, and at the quality of it all. His Madame d’Étampes was with him, and they began to talk about Fontainebleau. Madame d’Étampes told his Majesty that he ought to commission me to make some beautiful decoration for his Fontainebleau.
The King at once answered:
‘That’s an admirable suggestion, and I shall decide what he is to do this very instant.’
Then he turned to me and began asking what I thought would be suitable for his beautiful fountain. I conjured up a few ideas for him, and then his Majesty expressed his own opinion. Then he told me that he was going away for fifteen or twenty days to St-Germain-en-Laye, which was twelve leagues distant from Paris, and that meanwhile I was to construct a model for that beautiful fountain of his. In all his kingdom it was the spot he most loved to enjoy his leisure in, so I was to make the model with the most elaborate adornment I could devise; and he commanded and implored me to exert myself to the utmost in the effort to produce a work of beauty. I promised to do so.
When he saw all the work I had so well in hand the King said to Madame d’Étampes:
‘I’ve never had a man of his profession who has pleased me more or deserved a greater reward. So we must consider how to keep him here. He’s generous with his money, he’s a good companion, and he’s a hard worker, so we must certainly bear him well in mind. And what’s more, madam, look how all the times he has come to see me, and all the times I’ve come here, he has never asked me for anything. He gives his heart and soul to his work. We must do something good for him without delay, in case we lose him.’
Madame d’Étampes said: ‘I shall remind you.’
They left: and then I pressed forward diligently with the work that was already begun, and in addition I began work on the model for the fountain, and applied myself to it with zest.
At the end of a month and a half the King came back to Paris. I had been working day and night; and I went along to see him, bringing with me the model, so skilfully executed that it could be easily understood. By then the devilish war241 between him and the Emperor was breaking out again, so I found him very distraught. However, I spoke to the Cardinal of Ferrara and let him know that I had with me some models that his Majesty had commissioned. I begged him to say a few words, when he saw his chance, so that I would be able to show the models; and I added that I thought the King would be delighted with them. The Cardinal did what I asked, and when he mentioned the models, straight away the King came to see them.
First of all I had made a model for the doorway of the palace of Fontainebleau, slightly correcting its proportions, as it was wide and squat in that bad French style of theirs. The opening of the doorway was almost square, and above it there was a half-circle, squashed like the handle of a basket. In this half-circle the King wanted to have a figure representing Fontainebleau. I made a beautifully-proportioned doorway, and then I placed over it an exact half-circle. At the sides I designed some charming projections, with socles underneath to match the cornices above. At each side, instead of the two columns usually found with this style, I had two satyrs. One of them stood out in rather more than half relief, and with one of his arms was making as if to hold up the part of the doorway which would have rested on the column; in the other hand he was grasping a heavy club. He looked very fierce and aggressive and was meant to strike terror into the beholder. The other satyr had the same stance, but the head and several things of that sort were different. He was holding a whip, with three balls attached to some chains. Although I call them satyrs, they had nothing of the satyr about them except for their little horns and goats’ heads, otherwise they looked like humans.
In the half-circle I had made a woman reclining in a beautiful attitude; she had her left hand resting on the neck of a stag, which was one of the King’s emblems. On one side I showed some little fawns in half relief, and there were some wild boars and other wild beasts in lower relief. On the other side there were hunting-dogs and hounds of various kinds, since these are found in that beautiful forest where the fountain springs.
I had enclosed the whole work in an oblong, and in each of the upper angles I had designed a Victory, in low relief, with torches in their hands as we see in representations left by the ancients. Above this I had shown the salamander, the King’s own device, and a host of other charming ornaments all harmonizing with the work, which was in the Ionic style.
As soon as the King saw this model242 he brightened up, and it took his mind off the tiresome discussions he had been having for more than two hours. Seeing that he was as amiably disposed as I wanted, I uncovered the other model; and this he wasn’t expecting at all as he thought he had seen all he could hope for.
This model was more than two cubits high; in it I had fashioned a fountain in the form of a perfect square, and around it there were some very fine flights of steps, intersecting each other, a thing which had never been seen in France before and which is rare in Italy. In the middle of the fountain I had constructed a pedestal, which was a little taller than the basin of the fountain itself: on the pedestal I had shown a nude figure, in correct proportion and full of beauty and grace. Its right hand was raised on high, holding a broken lance; and the left hand rested on the hilt of an exquisitely designed scimitar. With its weight resting on its left foot, its right had under it a rich and elaborately worked helmet. At the corners of the fountain I had fashioned four seated figures, each one of them raised up, with its own fanciful emblems.
The King began by asking me what was the idea behind the beautiful design, saying that without a word from me he understood all I had done as regards the doorway, but that though he appreciated that the model of the fountain was very beautiful he didn’t understand it at all: and, he added, he was well aware that I hadn’t worked like the kind of fool whose art had a certain amount of grace but was completely devoid of significance. At this I prepared to explain, for having pleased him by what I had done I wanted to please him with what I had to say.
‘You must know, sacred Majesty, that this little work of mine is so exactly calculated to the last detail that when executed it will lose none of its present grace. This figure in the middle is to be fifty-four feet high’ (at this the King made a tremendous gesture of amazement), ‘and it is meant to represent the god, Mars.243 The other four figures stand for the Arts and Sciences, which your Majesty protects and in which he finds such pleasure. This, on the right hand, is meant for the world of Learning; you see how she has her emblems, showing Philosophy and the various branches of philosophy. This other represents all the Arts of Design, that is, Sculpture, Painting, and Architecture. This other is for Music, which rightly accompanies all these branches of knowledge. Next, this gracious, kindly figure represents Liberality, for without her the splendid talents given us by God would be stifled. The great statue in the centre represents your Majesty himself, the god Mars, unique in valour: and you employ your valour justly and devoutly, in the defence of your glory.’
The King hardly had the patience to let me finish before he said in a loud voice: ‘In very truth, I’ve found a man after my own heart.’
Then, calling the treasurers appointed to me, he said that they should provide all I needed no matter what it cost; then, tapping me on the shoulder, he said to me:
‘Mon ami’ (that is, my friend), ‘I don’t know which is the greater, the pleasure of a prince at having found a man after his own heart, or the pleasure of an artist at having found a prince ready to provide him with all he needs to express his great creative ideas.’
I answered that if it was me his Majesty meant then my fortune was by far the greater. He answered with a laugh: ‘Let’s say that it’s equal.’ I left him in very high spirits, and went back to my work.
As my bad luck had it I was not warned to play the same act before Madame d’Étampes; and that evening, after she had learnt from the King’s own mouth all that had happened, such poisonous anger accumulated in her breast that she burst out:
‘If Benvenuto had shown me his fine works of art he would have given me cause to remember him when the time comes.’
The King tried to make excuses for me, but it was useless. I heard about all this a fortnight later, for they had gone on a progress through Normandy to Rouen and Dieppe and had then returned to St-Germain-en-Laye. So I took the beautiful little vase that I had made at Madame d’Étampes’s request, thinking that by giving it to her I would recover her favour. I went to see one of her nurses, bringing the vase with me.
I showed her the beautiful vase that I had made for her mistress, and explained that I meant to give it to her. She welcomed me with extraordinary kindness and said that she would have a word with Madame, who was not yet dressed, and that as soon as she had spoken to her I would be admitted. The nurse told Madame everything, and she replied contemptuously: ‘Tell him to wait.’
When I heard this I submitted with a good grace – a thing I find very difficult – and waited patiently till after her dinner-time. Then, seeing how late it was, my hunger made me so angry that I could not endure it any longer and went away, devoutly saying to myself that she could go and rot. I went to the Cardinal of Lorraine and gave him the vase as a present, begging him only to keep me in the King’s good books. He said that there was no need for him to do anything, but that when there was need for it he would be only too glad to do so: then he called his treasurer and whispered something in his ear. The treasurer, after he had waited for me to leave the Cardinal’s presence, said:
‘Benvenuto, come with me and I’ll give you a good glass of wine.’
Not knowing what he meant I replied:
‘Please, sir, let me have just one glass of wine and a bite of bread. I really could do with it, seeing that from early this morning till now I’ve been without food, waiting at Madame d’Étampes’s doorstep in order to make her a gift of that beautiful little silver-gilt vase. I told her about it, but to torment me she sent word that I was to wait. Now I’m overcome by hunger and I feel faint. God has willed it that I should give the fruit of my labour to someone much more deserving of it, and all I beg of you is a little refreshment: I’m very easily sick, and fasting upsets me so much that I shall fall down unconscious.’
While I was forcing out these words I was brought some excellent wine and other delicacies; so after I had this snack my strength flowed back and my anger subsided. Then that admirable treasurer offered me a hundred gold crowns: but I refused to take them under any conditions. When he reported this to the Cardinal he was given a thorough dressing-down and ordered to make me take them by force, or else not show his face again. The treasurer returned to me in a temper, saying that the Cardinal had never abused him so much before. He tried to give me the money and when I made some show of resistance he told me furiously that he would force me to take it. So I accepted. When I wanted to go and thank the Cardinal, he sent word through one of his secretaries that whenever he could he would be only too glad to make himself agreeable to me. I went back to Paris that same evening. The King heard all that had happened. They laughed at Madame d’Étampes, and that increased her venomous desire to do me harm to such an extent that I was in great danger of my life: I shall tell what happened in the appropriate place.
Long before this I should have recorded my having won the friendship of the most talented, lovable, and companionable gentleman I have ever known in the world: this was Messer Guido Guidi, an excellent physician and doctor, and a noble Florentine citizen.244 But the endless disasters brought upon me by my bad fortune have resulted in my neglecting him a little. I did not think, however, that this was of very great importance, seeing that he was always near to my heart, and that was good enough. But then, realizing that the story of my life would not be complete without him, I have included mention of him here, among the details of my greatest tribulations. During them he was my support and comfort, and now I can acknowledge his goodness here.
After Messer Guido had arrived in Paris, and after I had first made his acquaintance, I took him home to my castle and there let him have a free apartment to himself: we enjoyed several years together. The Bishop of Pavia, that is to say, Monsignor de’ Rossi, brother of the Count of San Secondo, also came to Paris. I took this lord from the inn where he was lodging and gave him as well an apartment in the castle. He stayed there very comfortably, with his servants and horses, for a good few months. On another occasion I gave hospitality for a few months to Luigi Alamanni and his sons. Thus God was kind enough to allow even me the means of doing a good turn to great and talented men.
Messer Guido and I enjoyed our friendship together all the years I stayed in Paris; we would often congratulate ourselves on the fact that we were cultivating our talents, in our respective professions, through the generosity of such a great and splendid prince. In fact I can truly say that what I am, and what worthwhile works of art I have produced, have all been because of that marvellous King. But I must pick up the thread of my story about him, and about the great work I did for him.
There was a tennis-court in my castle which I made very profitable use of. The place contained some small rooms which were lived in by various people, including among them a very expert book-printer. He had nearly all his workshop inside the castle, and it was he who printed for Messer Guido his first fine book on medicine.245 As I wanted to make use of these apartments I sent him away, though not without considerable difficulty. There was also a saltpetre manufacturer living there, and when I wanted to make use of the little rooms he had for some of my first-rate German workmen he refused to budge. I asked him time and time again to let me have my rooms back, because I wanted to use them for the men working for me in the King’s service; but the more humbly I pleaded, the more arrogantly the beast answered me back. So finally I gave him three days’ definite notice. At this he burst out laughing and said that he would begin to think about it at the end of three years. I did not know that he was one of Madame d’Étampes’s favoured servants, and if it weren’t that the encounter I had had with her made me more circumspect than before I would have sent him packing at once. But I decided to remain patient for those three days.
When they had gone by, without saying a word more, I mustered some Germans, Italians, and Frenchmen – all with weapons in their hands – and a good number of unskilled labourers, and in next to no time wrecked his place and threw all his belongings outside my castle.
I took this somewhat drastic step because he had told me that he knew no Italian who had it in him to dare move one link from its place. When it was all over he appeared on the scene, and I said:
‘I’m the least Italian of all Italy, and I’ve done nothing to you in comparison with what I’m capable of doing and what I shall do if you say a single word.’
Then I added some more insults for good measure. He was thunderstruck and terrified: he gathered his belongings together as best he could, and then he ran off to Madame d’Étampes and painted a picture of what had happened as if it had been hell itself; and that great enemy of mine – eloquent and influential as she was – painted it far worse for the King.
Later I was told that he became so exasperated that twice he was on the point of issuing brutal orders against me. But as it happened his son, the Dauphin Henry (today the King of France) had had his path crossed several times by that presumptuous woman, and so, along with the Queen of Navarre, King Francis’s sister, he defended me so adroitly that the King laughed the whole thing off. Because of this, by the true help of God I escaped a great storm.
There was another man that I had to do the same thing to, but I did not wreck his place, though I threw out all his belongings. As a result of this Madame d’Étampes was bold enough to say to the King: ‘I think that one of these days that devil will sa
ck Paris itself.’
The King replied angrily that I was thoroughly justified in defending myself against the rabble who hindered me from serving him. The spiteful woman’s rage grew fiercer every hour. Then she sent for a painter, who was staying at Fontainebleau, where the King nearly always resided. He was an Italian from Bologna, and he was known as Il Bologna though his real name was Francesco Primaticcio.246 Madame d’Étampes told him that he should ask the King for the commission that his Majesty had given me in connexion with the fountain, and she added that she would use all her influence to help him obtain it. So they agreed together on what to do.
This Bologna went into greater raptures than he had ever known before, thinking that the commission was as good as his, although it was not his sort of work. However, he was a competent draughtsman and he had gathered round him a number of workmen who had been trained in the school of Rosso, that Florentine painter of ours, a marvellously able artist. Whatever good there was in his work was copied from Rosso’s splendid style. Rosso himself was already dead. The cunning arguments they used were very effective: Madame d’Étampes gave all the help she could, and they hammered away at the great King day and night, now Madame, and now Bologna. The main reason for his giving way was their saying together:
The Autobiography of Benvenuto Cellini Page 35
