The Autobiography of Benvenuto Cellini

by Benvenuto Cellini

  The Duke agreed to this with an eagerness only matched by my dissatisfaction. When the Duchess heard what had happened she remarked:

  ‘It would have been better for the poor man if he had relied on me. I would have got him five thousand gold crowns.’

  And one day when I was at the palace she repeated those very words to me, in the presence of Alamanno Salviati,343 and she began mocking me, saying that I deserved all my bad luck.

  The Duke made arrangements for me to be paid a hundred gold crowns every month until the total was reached, and for a few months I was paid in this way. Then Messer Antonio de’ Nobili,344 whose duty it was, began to pay only fifty, and later it was sometimes twenty-five, and sometimes nothing. When I saw how the payment was being delayed I spoke to Antonio very courteously and begged him to let me know the reason for his not finishing the payment. He answered me no less politely, but I rather think he gave himself away in what he said, because (and the reader may judge for himself) first he said that the reason he did not keep up the payments was because of the shortage of money at the palace but that he promised to pay me as soon as the money was available, and then he went on to remark: ‘But what a villain I’ll be if I don’t pay you!’

  I was surprised to hear him say that, but I assured myself that when he could do so he would pay me. But I was proved completely wrong. As a result, realizing how badly I was being treated, I lost my temper with him and in my anger reminded him heatedly what sort of man he had said he would be if he didn’t pay me. However, as it happened, when he died the money still wasn’t paid, and to this very day I’m still owed five hundred gold crowns: and here we are near the end of 1566.

  I was also owed the remainder of my salary, which they appeared to have no intention of paying, since about three years had passed. But then the Duke fell dangerously ill – being unable to urinate for forty-eight hours – and knowing that the doctors could do nothing for him he very likely had recourse to God, and because of this he ordered that everyone should be paid what was owing to him; so I was paid my arrears though I was not given the balance still outstanding for the Perseus.

  I had pretty well made up my mind not to say another word about my unfortunate Perseus, but I am compelled to because of something very extraordinary that happened: so I shall go back a little and pick up the thread. I imagined that I was doing it for the best when I told the Duchess that I was no longer able to come to an arrangement about something which was outside my control, since I had told the Duke that I would be satisfied with whatever his Excellency meant to give me. And I said this in order to make myself agreeable and I acted mildly because I wanted somehow or other to appease the Duke, who a few days before he had made the agreement with Albizzi had clearly shown that he was very incensed against me.

  The cause of his annoyance had been my complaining to his Excellency about the brutal, treacherous behaviour of Messer Alfonso Quistello, and Messer Jacopo Polverino,345 the chancellor, and especially Ser Giovanbatista Brandini, of Volterra: I was putting my case to him with some show of passion, when the Duke suddenly flew into an uncontrollable rage, and while he was still struggling with his temper his Excellency said to me:

  ‘This is just the same as happened over your Perseus when you asked ten thousand crowns for it: you let your self-interest get the better of you. I shall have it valued and I’ll give you whatever it’s said to be worth.’

  I replied to this rather boldly and angrily – an unwise thing to do with great lords – and cried out:

  ‘But how on earth can the value of my work be estimated when there’s not a man in Florence who’s capable of doing it?’

  Then the Duke became even angrier than before, and he made a number of bitter remarks including the comment that:

  ‘In Florence today there certainly is a man who could make a work like it and who therefore will be able to judge it perfectly.’

  He meant Bandinello, knight of St James.

  ‘My lord,’ I replied, ‘your Most Illustrious Excellency has made it possible for me to produce, in the midst of the greatest artists in the world, an important and very elaborate work: it has been praised more than any other work ever displayed to the marvellous Florentine school; and what makes me most proud is that one of those great men who understand and practise the arts – the painter Bronzino – went out of his way to write four sonnets in a remarkably appropriate and noble style: and following him the whole city became tremendously excited. I assure you that if this splendid artist concentrated on sculpture as much as he does on painting he would be capable of doing it. And besides this, I assure your Excellency that when he was younger my master Michelangelo Buonarroti could have done it, though with no less effort than it took me. But now that he’s a very old man he’s probably not up to it. So I don’t think there’s anyone we know alive today who could match my Perseus. I couldn’t ask for a greater reward for my work than the one it has already received: especially since your Most Illustrious Excellency not only said that you were delighted with it but praised it more than anyone else. What greater or more flattering reward could one want? I insist that your Excellency could not have paid me in more glorious coin, and no treasure whatsoever could add to it. In fact I have been paid too much, and for this I thank your Excellency from the bottom of my heart.’

  To this, the Duke replied: ‘More likely you think I haven’t the wherewithal to pay you; well, I tell you I shall pay you much more than it’s worth.’

  ‘I didn’t expect to have any other reward from your Excellency,’ I answered, ‘and I count myself amply rewarded by what the artists of Florence first gave me, and with that I shall clear off this very minute, without ever going back to that house your Excellency gave me. Nor will I ever worry about setting eyes on Florence again.’

  We were then just by Santa Felicità, and his Excellency was making his way back to the palace. After my outburst the Duke suddenly turned on me, very angrily, and said: ‘You are not to leave – and take care you don’t do so.’

  So then, not a little afraid, I went with him to the palace. After he had arrived his Excellency sent for Bishop Bartolini,346 who was the Archbishop of Pisa, and called in Messer Pandolfo della Stufa,347 and told them to tell Baccio Bandinello from him that he was to give my statue of Perseus a thorough examination, and value it, since the Duke wanted to pay me a just price for it. Those two honest men went at once in search of Bandinello, and carried out their orders: he said that he had studied the work thoroughly and knew only too well what it was worth, but that as he was at odds with me over some other past matters he had not the remotest intention of meddling in my affairs in any way whatsoever.

  Then those two noblemen went on to say: ‘The Duke has said that you are commanded, under pain of his displeasure, to fix a price for it; and if you want two or three days for a thorough study, then take them, and afterwards tell us what you reckon the work deserves.’

  Bandinello replied that he had already considered it carefully, and that he could not but obey the Duke’s commands: a very elaborate and beautiful work had been produced, and it seemed to him that it was worth sixteen thousand gold crowns, and more. Those two upright noblemen immediately reported back to the Duke, who was extremely annoyed; and they informed me in the same way. I told them that I had no intention of accepting Bandinello’s praises, since that wicked man spoke evil of everyone. These words of mine were repeated to the Duke, and it was for that reason that the Duchess wanted me to put the matter in her hands. All this is the unadulterated truth; and I shall only add that I would have done best to accept the judgement of the Duchess, for I would have been paid promptly and have had that much more reward.

  The Duke gave me to understand through his auditor, Messer Lelio Torello,348 that he wanted me to execute a number of scenes in low relief and in bronze for the choir of Santa Maria del Fiore. But as this choir was Bandinello’s work I did not want to enhance his clumsy efforts by my own labour, although he himself had not designed it a
s he had not the slightest knowledge of architecture. In fact the design was by the wood-carver Giuliano,349 the son of Baccio d’Agnolo who spoilt the cupola: I need only say that it was without any distinction whatsoever. So for one reason and another I was unwilling to do the work in any circumstances. All the same I was always telling the Duke politely that I would do whatever his Most Illustrious Excellency commanded. So he commissioned the vestry-board of Santa Maria del Fiore to cooperate with me: his Excellency would merely provide me with my allowance of two hundred crowns a year, and the committee were to supply everything else that was needed.

  As a result I appeared before them and was informed of the instructions the Duke had given. As it seemed to me that I could explain my arguments to them far more safely, I got them to see how so many bronzes would mean a very great expense, which would be entirely thrown away: I stated all my reasons and they understood me perfectly.

  First I said that the way the choir was constructed was all wrong: it was built without judgement, and it entirely lacked art, reason, grace, and design. Next, the bronze reliefs would have to be placed so low that they would be too far beneath eye-level, and would provide a piss-house for dogs, and always be choked with filth. So, for those reasons, I refused to do it at any price. But I added that in order not to waste the remainder of the best years of my life, and in order to do something for his Excellency, whom I wanted so much to please and serve, if the Duke wanted to make use of my labour he should let me make the central door of Santa Maria del Fiore, which would be a work of art that everyone could see and which would bring his Excellency much more honour. I went on to say that I would bind myself by my written word that if I did not make it better than the most beautiful door of San Giovanni350 I would take nothing for my pains. But if I made it as I promised I would be content to have it valued, and then they should give me a thousand crowns less than what it was judged worth by members of the guild.

  What I had proposed to them pleased the committee very much, and they went to discuss it with the Duke. One of them was Piero Salviati,351 and he thought that what he had to say his Excellency would find very pleasing. But it was by no means so, and he said that I was always wanting him to do exactly the opposite to what he wanted done. So, without coming to any decision, Piero left him.

  When I heard of this I immediately went to find the Duke myself. He appeared rather angry, but I begged him to be gracious enough to listen to what I had to say, and he consented. I began at the beginning and employing a whole host of skilful arguments tried to make him understand the truth of the matter, showing him that it would be a great expense, and all for nothing; and then I appeased him by saying that if he was not agreeable to my making the door, then there were two pulpits needed for the choir, and that they would be very important works and bring his Excellency great honour. I went on to say that I would make a large number of bronzes for them, in low relief and with elaborate decoration. In that way I calmed him down, and he commissioned me to produce some models.352

  I made several designs, and took great pains over them: amongst others I made one with eight panels, taking more care over it than over the rest, and it seemed to me that it was much more suitable for the purpose. I brought them along to the palace several times, and then his Excellency gave me to understand, through Messer Cesare, his keeper of the wardrobe, that I was to leave them there. Then he saw them, and I discovered afterwards that he had selected the least beautiful of them all. And then one day his Excellency sent for me and while we were discussing the designs I told him – backing up my opinion with a multitude of arguments – that the one with eight panels would have been far more appropriate for the purpose and much more beautiful to look at. The Duke said in reply that he wanted me to make it square, since he preferred that style: and then he carried on chatting with me for a long time, very pleasantly.

  I did not fail to say all that came to me in the interests of good work. It may be that the Duke knew that I was in the right, but he still wanted to have his own way and I waited a long time before anything else was said to me about the matter.

  It was at that time353 that the great block of marble, intended for the Neptune, was brought up the river Arno, and then by way of the Grieve along the road by Poggio a Caiano. This was done in order to bring it more easily to Florence by that level road, and it was there that I went to see it. And although I knew for certain that the Duchess as a mark of personal favour had given it to Cavaliere Bandinello, I was motivated not by envy of Bandinello but by pity for that poor, unfortunate marble. One can see how when something, no matter what it is, is destined for an evil end, if one tries to rescue it from immediate misfortune it always falls into a worse one – as the marble did when it came into the hands of Bartolomeo Ammanati, about whom I shall tell the truth when the time comes.

  Anyhow, after I had seen that splendid block of marble I measured it up thoroughly and then after returning to Florence constructed several little models of the right proportions. Afterwards I made my way to Poggio a Caiano where the Duke and the Duchess, and the little Prince, their son, were staying. I found them all at table, the Duke and Duchess eating by themselves. So I began to chat with the Prince. After we had talked together for a good while, the Duke, who was in an adjacent room, heard my voice and very politely sent for me.

  I went in to where their Excellencies were and then with great charm the Duchess began to talk to me: and as we were talking, little by little I moved the discussion towards the subject of that splendid block of marble I had seen. I was reminding her how their ancestors had made their noble school as brilliant as it was only by encouraging rivalry among all the various artists;354 and it was in that way, I said, that the magnificent cupola and the beautiful doors of San Giovanni had been brought into being, as well as all the many other fine churches and statues which provided the city, unparalleled from the days of the ancients, with such a brilliant crown. Suddenly the Duchess said very angrily that she understood perfectly well what I was hinting at, and that I was never to speak of that marble in her presence again, since I annoyed her by doing so.

  I replied: ‘So I annoy you by my wanting to act on your Excellencies’ behalf and arranging everything that you may be better served? But consider, my lady: if your Most Illustrious Excellencies agree to everyone’s making a model of a Neptune, even though you’re still determined that Bandinello shall have it, it will force him, for the sake of his reputation, to apply himself with far greater zeal to producing a fine model than he will if he knows he has no competitors. And in that way you, our patrons, will be far better served, and will not dishearten your brilliant artists. You will discover who stands out in the skilled practice of this splendid art, and you will show yourselves to be patrons of discrimination and understanding.’

  Furiously angry, the Duchess said that I made her sick to death and that she meant Bandinello to have the marble. Then she added: ‘Ask the Duke about it, for he too intends it to go to Bandinello.’

  After the Duchess had spoken, the Duke, who had been keeping so quiet all the time, said:

  ‘It is twenty years since I had that beautiful marble specially quarried for Bandinello, and so I intend that he shall have it for himself.’

  Straight away I turned to the Duke and said: ‘My lord, I beg your Excellency to let me say a few words in your service.’

  He replied that I was to say all I wanted, and that he would listen to me.

  ‘Then, my lord,’ I said, ‘I must inform you that that marble from which Bandinello made his Hercules and Cacus was quarried for the marvellous Michelangelo Buonarroti, who had made for it a model of a Samson, four figures in all, which would have proved the world’s most beautiful work: and your Bandinello got only two figures out of it, badly made and hopelessly contorted. And to this day the artists of Florence grieve over the dreadful wrong that was inflicted on that lovely marble. I believe that more than a thousand sonnets were stuck up, all abusing that clumsy abortion, and I know that yo
ur Excellency remembers it perfectly well.

  ‘And so, my noble lord, if those men who had the responsibility were so ignorant as to take that fine marble away from Michelangelo – the marble that was quarried for him – and give it to Bandinello – who as we can see ruined it – well then, would you ever tolerate this much more beautiful block of marble not being handed over to an expert artist who would use it well, even though it belongs to Bandinello who would ruin it? See to it, my lord, that anyone who wants to may make a model, and then let all the models be exhibited to the school. Your Most Illustrious Excellency will hear what the school has to say, and then, with your own good judgement, will know how to choose the best; and in this way you neither throw your money away nor dishearten a splendid company of artists, who are unique in the world today and who cover your Excellency with glory.’

  The Duke, having listened very indulgently, at once rose from the table and said to me:

  ‘Go along, Benvenuto, make your model355 and win that fine marble, because you’re telling me the truth and I know it.’

  The Duchess made menacing signs, furiously muttering I don’t know what; and I took my leave and returned to Florence, where it seemed an eternity before I began work on the model.

  When the Duke arrived at Florence he came to my house without any warning. I showed him two different little models, and he said that one of them pleased him more than the other, though he praised them both. He told me to put the finishing touches to the one he liked and added that it would be well worth my while. The Duke had seen Bandinello’s and also some other artists’ work, but he praised mine at far greater length, or so I was told by many of the courtiers who had heard him.

  Among the other things of importance that I remember is one incident very relevant here. The Cardinal of Santa Fiore happened to come to Florence, and the Duke took him to Poggio a Caiano. As they were journeying along, the Cardinal saw the marble and praised it highly; and then he asked whom his Excellency had commissioned to work on it.