Chapter I: NOW stayed at home, and went rarely to the palace, labouring with

great diligence to complete my statue. I had to pay the workmen out of my own pocket; for the Duke, after giving Lattanzio Gorini orders to discharge their wages, at the end of about eighteen months, grew tired, and withdrew this subsidy. I asked Lattanzio why he did not pay me as usual. The man replied, gesticulating with those spidery hands of his, in a shrill gnat’s voice: “Why do not you finish your work? One thinks that you will never get it done.” In a rage I up and answered: “May the plague catch you and all who dare to think I shall not finish it!”

So I went home with despair at heart to my unlucky Perseus, not without weeping, when I remembered the prosperity I had abandoned in Paris under the patronage of that marvellous King Francis, where I had abundance of all kinds, and here had everything to want for. Many a time I had it in my soul to cast myself away for lost. One day on one of these occasions, I mounted a nice nag I had, put a hundred crowns in my purse, and went to Fiesole to visit a natural son of mine there, who was at nurse with my gossip, the wife of one of my workpeople. When I reached the house, I found the boy in good health, and kissed him, very sad at heart. On taking leave, he would not let me go, but held me with his little hands and a tempest of cries and tears. Considering that he was only two years old or thereabouts, the child’s grief was something wonderful. Now I had resolved, in the heat of my despair, if I met Bandinello, who went every evening to a farm of his above San Domenico, that I would hurl him to destruction; so I disengaged myself from my baby, and left the boy there sobbing his heart out. Taking the road toward Florence, just when I entered the piazza of San Domenico, Bandinello was arriving from the other side. On the instant I decided upon bloodshed; but when I reached the man and raised my eyes, I saw him unarmed, riding a sorry mule or rather donkey, and he had with him a boy of ten years old. No sooner did he catch sight of me than he turned the colour of a corpse, and trembled from head to foot. Perceiving at once how base the business would be, I exclaimed: “Fear not, vile coward! I do not condescend to smite you.” He looked at me submissively and said nothing. Thereupon I recovered command of my faculties, and thanked God that His goodness had withheld me from so great an act of violence. Then, being delivered from that fiendish fury, my spirits rose, and I said to myself: “If God but grant me to execute my work, I hope by its means to annihilate all my scoundrelly enemies; and thus I shall perform far greater and more glorious revenges that if I had vented my rage upon one single foe.” Having this excellent resolve in heart, I reached my home. At the end of three days news was brought me that my only son had been smothered by his nurse, my gossip, which gave me greater grief than I have ever had in my whole life. However, I knelt upon the ground, and, not without tears, returned thanks to God, as I was wont, exclaiming, “Lord, Thou gavest me the child, and Thou hast taken him; for all Thy dealings I thank Thee with my whole heart.” This great sorrow went nigh to depriving me of reason; yet, according to my habit, I made a virtue of necessity, and adapted myself to circumstances as well as I was able.

LXVII

ABOUT this time a young fellow called Francesco, the son of a smith, Matteo, left Bandinello’s employment, and inquired whether I would give him work. I agreed, and sent him to retouch my Medusa, which had been new cast in bronze. After a fortnight he mentioned that he had been speaking with his master, that is, Bandinello, who told him, if I cared to make a marble statue, he would give me a fine block of stone. I replied at once: “Tell him I accept his offer; perhaps this marble will prove a stumbling block to him, for he keeps on provoking me, and does not bear in mind the great peril he ran upon the piazza of San Domenico. Tell him I will have the marble by all means. I never speak about him, and the beast is perpetually causing me annoyance. I verily believe you came to work here at his orders for the mere purpose of spying upon me. Go, then, and tell him I insist on having the marble, even against his will: see that you do not come back without it.”

LXVIII

MANY days had elapsed during which I had not shown my face in the palace, when the fancy took me to go there one morning just as the Duke was finishing his dinner. From what I heard, his Excellency had been talking of me that morning, commending me highly, and in particular praising my skill in setting jewels. Therefore, when the Duchess saw me, she called for me by Messer Sforza; [1] and on my presenting myself to her most illustrious Excellency, she asked me to set a little point-diamond in a ring, saying she wished always to wear it; at the same time she gave me the measure and the stone, which was worth about a hundred crowns, begging me to be quick about the work. Upon this the Duke began speaking to the Duchess, and said: “There is no doubt that Benvenuto was formerly without his peer in this art; but now that he has abandoned it, I believe it will be too much trouble for him to make a little ring of the sort you want. I pray you, therefore, not to importune him about this trifle, which would be no trifle to him owing to his want of practice.” I thanked the Duke for his kind words, but begged him to let me render this trifling service to the Duchess. Then I took the ring in hand, and finished it within a few days. It was meant for the little finger; accordingly I fashioned four tiny children in the round and four masks, which figures composed the hoop. I also found room for some enamelled fruits and connecting links, so that the stone and setting went uncommonly well together. Then I took it to the Duchess, who told me graciously that I had produced a very fine piece, and that she would remember me. She afterwards sent the ring as a present to King Philip, and from that time forward kept charging me with commissions, so kindly, however, that I did my best to serve her, although I saw but very little of her money. God knows I had great need of that, for I was eager to finish my Perseus, and had engaged some journeymen, whom I paid out of my own purse. I now began to show myself more often than I had recently been doing.

Note 1. Sforza Almeni, a Perugian gentleman, the Duke’s chamberlain. Cosimo killed this man with his own hand in the year 1566.

LXIX

IT happened on one feast-day that I went to the palace after dinner, and when I reached the clockroom, I saw the door of the wardrobe standing open. As I drew nigh it, the Duke called me, and after a friendly greeting said: “You are welcome! Look at that box which has been sent me by my lord Stefano of Palestrina. [1] Open it, and let us see what it contains.” When I had opened the box, I cried to the Duke: “My lord, this is a statue in Greek marble, and it is a miracle of beauty. I must say that I have never seen a boy’s figure so excellently wrought and in so fine a style among all the antiques I have inspected. If your Excellency permits, I should like to restore it--head and arms and feet. I will add an eagle, in order that we may christen the lad Ganymede. It is certainly not my business to patch up statues, that being the trade of botchers, who do it in all conscience villainously ill; yet the art displayed by this great master of antiquity cries out to me to help him.” The Duke was highly delighted to find the statue so beautiful, and put me a multitude of questions, saying: “Tell me, Benvenuto, minutely, in what consists the skill of this old master, which so excites your admiration.” I then attempted, as well as I was able, to explain the beauty of workmanship, the consummate science, and the rare manner displayed by the fragment. I spoke long upon these topics, and with the greater pleasure because I saw that his Excellency was deeply interested.

Note 1. Stefano Colonna, of the princely house of Palestrina. He was a general of considerable repute in the Spanish, French, and Florentine services successively.

LXX

WHILE I was thus pleasantly engaged in entertaining the Duke, a page happened to leave the wardrobe, and at the same moment Bandinello entered. When the Duke saw him, his countenance contracted, and he asked him drily: “What are you about here?” Bandinello, without answering, cast a glance upon the box, where the statue lay uncovered. Then breaking into one of his malignant laughs and wagging his head, he turned to the Duke and said: “My lord, this exactly illustrates the truth of what I have so often told your Excellency. You must know that the ancients were wholly ignorant of anatomy, and therefore their works abound in mistakes.” I kept silence, and paid no heed to what he was saying; nay, indeed, I had turned my back on him. But when the brute had brought his disagreeable babble to an end, the Duke exclaimed: “O Benvenuto, this is the exact opposite of what you were just now demonstrating with so many excellent arguments. Come and speak a word in defence of the statue.” In reply to this appeal, so kindly made me by the Duke, I spoke as follows: “My lord, your most illustrious Excellency must please to know that Baccio Bandinello is made up of everything bad, and thus has he ever been; therefore, whatever he looks at, be the thing superlatively excellent, becomes in his ungracious eyes as bad as can be. I, who incline to the good only, discern the truth with purer sense. Consequently, what I told your Excellency about this lovely statue is mere simple truth; whereas what Bandinello said is but a portion of the evil out of which he is composed.” The Duke listened with much amusement; but Bandinello writhed and made the most ugly faces--his face itself being by nature hideous beyond measure--which could be imagined by the mind of man.

The Duke at this point moved away, and proceeded through some ground floor rooms, while Bandinello followed. The chamberlains twitched me by the mantle, and sent me after; so we all attended the Duke until he reached a certain chamber, where he seated himself, with Bandinello and me standing at his right hand and his left. I kept silence, and the gentlemen of his Excellency’s suite looked hard at Bandinello, tittering among themselves about the speech I had made in the room above. So then Bandinello began again to chatter, and cried out: “Prince, when I uncovered my Hercules and Cacus, I verily believe a hundred sonnets were written on me, full of the worst abuse which could be invented by the ignorant rabble.” [1] I rejoined: “Prince, when Michel Agnolo Buonarroti displayed his Sacristy to view, with so many fine statues in it, the men of talent in our admirable school of Florence, always appreciative of truth and goodness, published more than a hundred sonnets, each vying with his neighbour to extol these masterpieces to the skies. [2] So then, just as Bandinello’s work deserved all the evil which, he tells us, was then said about it, Buonarroti’s deserved the enthusiastic praise which was bestowed upon it.” These words of mine made Bandinello burst with fury; he turned on me, and cried: “And you, what have you got to say against my work?” “I will tell you if you have the patience to hear me out.” “Go along then,” he replied. The Duke and his attendants prepared themselves to listen. I began and opened by oration thus: “You must know that it pains me to point out the faults of your statue; I shall not, however, utter my own sentiments, but shall recapitulate what our most virtuous school of Florence says about it.” The brutal fellow kept making disagreeable remarks and gesticulating with his hands and feet, until he enraged me so that I began again, and spoke far more rudely than I should otherwise have done, if he had behaved with decency. “Well, then, this virtuous school says that if one were to shave the hair of your Hercules, there would not be skull enough left to hold his brain; it says that it is impossible to distinguish whether his features are those of a man or of something between a lion and an ox; the face too is turned away from the action of the figure, and is so badly set upon the neck, with such poverty of art and so ill a grace, that nothing worse was ever seen; his sprawling shoulders are like the two pommels of an ass’ pack-saddle; his breasts and all the muscles of the body are not portrayed from a man, but from a big sack full of melons set upright against a wall. The loins seem to be modelled from a bag of lanky pumpkins; nobody can tell how his two legs are attached to that vile trunk; it is impossible to say on which leg he stands, or which he uses to exert his strength; nor does he seem to be resting upon both, as sculptors who know something of their art have occasionally set the figure. It is obvious that the body is leaning forward more than one-third of a cubit, which alone is the greatest and most insupportable fault committed by vulgar commonplace pretenders. Concerning the arms, they say that these are both stretched out without one touch of grace or one real spark of artistic talents, just as if you had never seen a naked model. Again, the right leg of Hercules and that of Cacus have got one mass of flesh between them, so that if they were to be separated, not only one of them, but both together, would be left without a calf at the point where they are touching. They say, too, that Hercules has one of his feet underground, while the other seems to be resting on hot coals.”

Note 1. Vasari confirms this statement. The statue, which may still be seen upon the great piazza, is, in truth, a very poor performance. The Florentines were angry because Bandinello had filched the commission away from Michel Angelo. It was uncovered in 1534, and Duke Alessandro had to imprison its lampooners.

Note 2. Cellini alludes of course to the Sacristy of S. Lorenzo, designed by Michel Angelo, with the portraits of the Medici and statues of Day, Night, Dawn, and Twilight.

LXXI

THE FELLOW could not stand quiet to hear the damning errors of his Cacus in their turn enumerated. For one thing, I was telling the truth; for another, I was unmasking him to the Duke and all the people present, who showed by face and gesture first their surprise, and next their conviction that what I said was true. All at once he burst out: “Ah, you slanderous tongue! why don’t you speak about my design?” I retorted: “A good draughtsman can never produce bad works; therefore I am inclined to believe that your drawing is no better than your statues.” When he saw the amused expression on the Duke’s face and the cutting gestures of the bystanders, he let his insolence get the better of him, and turned to me with that most hideous face of his, screaming aloud: “Oh, hold your tongue, you ugly…” [1] At these words the Duke frowned, and the others pursed their lips up and looked with knitted grows toward him. The horrible affront half maddened me with fury; but in a moment I recovered presence of mind enough to turn it off with a jest; “You madman! you exceed the bounds of decency. Yet would to God that I understood so noble an art as you allude to; they say that Jove used it with Ganymede in paradise, and here upon this earth it is practised by some of the greatest emperors and kings. I, however, am but a poor humble creature, who neither have the power nor the intelligence to perplex my wits with anything so admirable.” When I had finished this speech, the Duke and his attendants could control themselves no longer, but broke into such shouts of laughter that one never heard the like. You must know, gentle readers, that though I put on this appearance of pleasantry, my heart was bursting in my body to think that a fellow, the foulest villain who ever breathed, should have dared in the presence of so great a prince to cast an insult of that atrocious nature in my teeth; but you must also know that he insulted the Duke, and not me; for had I not stood in that august presence, I should have felled him dead to earth. When the dirty stupid scoundrel observed that those gentlemen kept on laughing, he tried to change the subject, and divert them from deriding him; so he began as follows: “This fellow Benvenuto goes about boasting that I have promised him a piece of marble.” I took him up at once. “What! did you not send to tell me by your journeyman, Francesco, that if I wished to work in marble you would give me a block? I accepted it, and mean to have it.” He retorted: “Be very well assured that you will never get it.” Still smarting as I was under the calumnious insults he had flung at me, I lost my self-control, forgot I was in the presence of the Duke, and called out in a storm of fury: “I swear to you that if you do not send the marble to my house, you had better look out for another world, for if you stay upon this earth I will most certainly rip the wind out of your carcass. [2] Then suddenly awaking to the fact that I was standing in the presence of so great a duke, I turned submissively to his Excellency and said: “My lord, one fool makes a hundred; the follies of this man have blinded me for a moment to the glory of your most illustrious Excellency and to myself. I humbly crave your pardon.” Then the Duke said to Bandinello: “Is it true that you promised him the marble?” He replied that it was true. Upon this the Duke addressed me: “Go to the Opera, and choose a piece according to your taste.” I demurred that the man had promised to sent it home to me. The words that passed between us were awful, and I refused to take the stone in any other way. Next morning a piece of marble was brought to my house. On asking who had sent it, they told me it was Bandinello, and that this was the very block which he had promised. 3

Note 1. 'Oh sta cheto, soddomitaccio.'

Note 2. 'In questo' ('mondo') 'ti sgonfieró a ogni modo.'

Note 3. Vasari, in his 'Life of Bandinello,' gives a curious confirmation of Cellini’s veracity by reporting this quarrel, with some of the speeches which pdssed between the two rival artists. Yet he had not read Cellini’s 'Memoirs,' and was far from partial to the man. Comparing Vasari’s with Cellini’s account, we only notice that the latter has made Bandinello play a less witty part in the wordy strife than the former assigned him.

LXXII