The Autobiography of Benvenuto Cellini

Benvenuto Cellini’s Autobiography is interesting in that it’s a rare Renaissance artist’s account of his own life. Benvenuto Cellini was a goldsmith and sculptor, who worked for numerous Popes and even the king of France – Francois I. While describing his various patrons, fellow artists, and common citizens of all statuses, the figure that looms largest is that of Benvenuto himself. A larger than life, arrogant, cantankerous, yet somehow also striking figure, he presents his life boldly, not bothering to deny his part in murders, petty quarrels, and sexual escapades.

He weaves an almost legendary account of his life, similar in many ways to the stories of medieval saints, starting with miracles surrounding his birth and show more childhood. In Cellini’s account, there’s no middle ground – all people fall into the categories of either friend or enemy, all events are either tragic or blissful.

It’s interesting how he describes the ideas and circumstances behind his masterpieces, such as the famous statue of Perseus (in Florence) and his Salt Cellar (Vienna). Although definitely biased (Benvenuto almost directly calls himself a genius), the autobiography is a fascinating read for anyone interested in Renaissance art. show less

This story of a man 500 years dead is burgeoning with life. Benvenuto Cellini is not so well known for his artistry today as Leonardo or Michaelangelo, but he was close to their echelon. It is primarily his autobiography that secured him lasting fame. He was a goldsmith in Florence and Rome, and a master of several related fields besides. The products of supreme artists in this period made a splash comparable to a blockbuster Hollywood movie or top-earning concert today, and Cellini pleased his audiences without fail.

It seems at that time it was nothing to settle one's differences by violence in the street, preferably in front of witnesses who could attest it had been a matter of honour. Benvenuto was not one to stand down from a show more confrontation with anyone, not even a pope or duke whose favour he enjoyed, if pride was on the line. Unfortunately he could not apply that solution to contractors, who could be as frustrating then as now to deal with, "like shouting at a collection of lame donkeys led by a blind boy", or to the many others who took advantage of him, often including his patrons.

Interspersed scenes like the necromancy at the colosseum cast a shade of doubt over some of the proceedings. I wish a stronger shade of doubt could be cast over his confessed treatment of women and underage girls. Otherwise the degree of detail with which he recalls a sequence of events, or the conversations he had and the places he went, is astounding. My edition's footnotes back up a enormous amount of it. There's not a chapter break to be seen and it reads like one single unrolling memory, life as story, suitably ending as if only pausing for breath. show less

A more or less linear, tale-by-tale recounting of Cellini's life.

Look, you will either love this book because it gives a glimpse into life in the late Italian Renaissance, through the eyes of an extremely colorful character whose personality takes center stage, or you will dislike it for being repetitive, one-sided, and possibly offensive to modern sensibilities.

The typical story in this memoir involves someone becoming jealous of Cellini's immense talents, and using their influence to turn powerful people (multiple Popes, a handful of different Cardinals, the King of France, etc.) against him. Usually, Cellini's innate morality will, by the grace of God, prove him innocent. Occasionally, he will be thrown in prison, flee the city, or show more murder his enemy in cold blood. According to the man himself, everyone is out to get him, and only his virtue, bravery, and sheer genius keep him going. In no case will Cellini admit to a fault, or stop to wonder why this kind of thing seems to happen to him so often.

Treating him as a character in a story, I found Cellini's self-aggrandizement and lack of self-awareness funny, though in real life he'd probably be insufferable! show less

What a raucous soap opera this book was! Cellini is best known as being a master goldsmith as well as a sculptor. His first noted great work was a silver salt cellar for the King of France. Cellini was a juvenile delinquent from the age of 12 when he roamed the streets of Florence. His parents were musicians and tried to reign him in and apprentice him to musicians, but he rebelled, and he was finally apprenticed to a goldsmith. He didn't like the instruction so at age 19 he ran away to Rome. While there he found an old friend who lent him a workspace and gave him a piece of silver which began his career. Cellini tells fantastic stories, although I'm not sure all are believable. According to his own writings, he took part in the sack of show more Rome in 1527, was sued four times for sodomy, and committed murder several times. He writes that he found those who sued him and "stabbed him so badly in the arms and the legs, that he would not be mobile again." He sought out the second subject for the same, but as the man repented during the stabbing, Cellini did not injure him as badly. Cellini also believed he could conjure up devils to do his bidding. He was imprisoned several times while in Rome and believed that he had a halo around his head indicating divine protection. Eventually, he was exiled from Rome and returned to Florence where Cosimo Medici became his patron. Per his own story, Cellini was quite a narcissist who exploited almost everyone with which he came into contact. 465 pages show less

When you get a first-person account from 500 years ago, you really hope to read about details of everyday life, what people ate, where they lived, what they wore..

but of course those are not the things people think to record, nor it is it Cellini's intent to record the minutiae of every day life.. Instead, this is Cellini's attempt to set the record straight against anyone who he feels hard done by , i.e. everyone. He is constantly mortally offended, and takes revenge, occasionally violently. He destroys the bedding in an inn after the landlord has the temerity to ask him to pay up front.

There were some puzzling medical mysteries that I wish some one should shed some light on. The governor of the prison has a complaint where he is show more convinced he is a bottle of oil, and then a bat. This sis the same prison where Cellini has a series of religious visions, so perhaps there is something in the water?


It is an authentic voice from the past, and you don't have to like him.He probably doesn't like you ,anyway. show less

What a blow-hard! But easy to read and one falls in love with this character. Another take on the Renaissance from one living in it and contributing his art to it.

I was drawn to this by Mark Twain's extolling it as one of the greatest autobiographies. It is wide in scope and thus widely quoted; I just saw it quoted in Lady Chatterley's Lover. Well, Cellini is a lusty fellow; swordplay, maidens, and goldsmithing seem to be his fusion of both Narcissus and Goldmund. His father exhorted him to continue his flute play, he continued his statuary. This sort of builds to the details around and funding in this royal patronage era of his great work Perseus with the Head of Medusa. Lots of popes, cardinals, dukes, and princes are his named colleagues and customers, whether he is making a salt cellar or operating artillery. Seems many, including Twain, have been gullible of his fire-dwelling salamanders, show more human hair balls, and necromancy. Cellini sure could tell a story and the translator bravely interjects with clarifying footnotes. I would liked to have more of a historian's context as well as pictures of his craft. show less