Note 1. This was the castle of Le Petit Nesle, on the site of which now stands the Palace of the Institute. The Provost of Paris was then Jean d'Estouteville, lord of Villebon.



XIII

THE AFFRONTS and insults I received made me have recourse to the King, begging his Majesty to establish me in some other place. He answered: "Who are you, and what is your name?" I remained in great confusion, and could not comprehend what he meant. Holding my tongue thus, the King repeated the same words a second time angrily. Then I said my name was Benvenuto. "If, then, you are the Benvenuto of whom I have heard," replied the King, "act according to your wont, for you have my full leave to do so." I told his Majesty that all I wanted was to keep his favour; for the rest, I knew of nothing that could harm me. He gave a little laugh, and said: "Go your ways, then; you shall never want my favour." Upon this he told his first secretary, Monsignor di Villerois, to see me provided and accommodated with all I needed. 1

This Villerois was an intimate friend of the Provost, to whom the castle had been given. It was built in a triangle, right up against the city walls, and was of some antiquity, but had no garrison. The building was of considerable size. Monsignor di Villerois counselled me to look about for something else, and by all means to leave this place alone, seeing that its owner was a man of vast power, who would most assuredly have me killed. I answered that I had come from Italy to France only in order to serve that illustrious King; and as for dying, I knew for certain that die I must; a little earlier or a little later was a matter of supreme indifference to me.

Now Villerois was a man of the highest talent, exceptionally distinguished in all points, and possessed of vast wealth. There was nothing he would not gladly have done to harm me, but he made no open demonstration of his mind. He was grave, and of a noble presence, and spoke slowly, at his ease. To another gentleman, Monsignor di Marmagna, the treasurer of Languedoc, he left the duty of molesting me. [2] The first thing which this man did was to look out the best apartments in the castle, and to have them fitted up for himself. I told him that the King had given me the place to serve him in, and that I did not choose it should be occupied by any but myself and my attendants. The fellow, who was haughty, bold, and spirited, replied that he meant to do just what he liked; that I should run my head against a wall if I presumed to oppose him, and that Villerois had given him authority to do what he was doing. I told him that, by the King's authority given to me, neither he nor Villerois could do it. When I said that he gave vent to offensive language in French, whereat I retorted in my own tongue that he lied. Stung with rage, he clapped his hand upon a little dagger which he had; then I set my hand also to a large dirk which I always wore for my defence, and cried out: "If you dare to draw, I'll kill you on the spot." He had two servants to back him, and I had my two lads. For a moment or two Marmagna stood in doubt, not knowing exactly what to do, but rather inclined to mischief, and muttering: "I will never put up with such insults." Seeing then that the affair was taking a bad turn, I took a sudden resolution, and cried to Pagolo and Ascanio: "When you see me draw my dirk, throw yourselves upon those serving-men, and kill them if you can; I mean to kill this fellow at the first stroke, and then we will decamp together, with God's grace." Marmagna, when he understood my purpose, was glad enough to get alive out of the castle.

All these things, toning them down a trifle, I wrote to the Cardinal of Ferrara, who related them at once to the King. The King, deeply irritated, committed me to the care of another officer of his bodyguard who was named Monsignor lo Iscontro d'Orbech. [3] By him I was accommodated with all that I required in the most gracious way imaginable.

Note 1. M. Nicholas de Neufville, lord of Villeroy.

Note 2. Francois l'Allemand, Seigneur de Marmagne.

Note 3. Le Vicomte d'Orbec. It seems that by 'Iscontro' Cellini meant Viscount.



XIV

AFTER fitting up my own lodgings in the castle and the workshop with all conveniences for carrying on my business, and putting my household upon a most respectable footing, I began at once to construct three models exactly of the size which the silver statues were to be. These were Jupiter, Vulcan and Mars. I moulded them in clay, and set them well up on irons; then I went to the King, who disbursed three hundred pounds weight of silver, if I remember rightly, for the commencement of the undertaking. While I was getting these things ready, we brought the little vase and oval basin to completion, which had been several months in hand. Then I had them richly gilt, and they showed like the finest piece of plate which had been seen in France.

Afterwards I took them to the Cardinal, who thanked me greatly; and, without requesting my attendance, carried and presented them to the King. He was delighted with the gift, and praised me as no artist was ever praised before. In return, he bestowed upon the Cardinal an abbey worth seven thousand crowns a year, and expressed his intention of rewarding me too. The Cardinal, however, prevented him, telling his Majesty that he was going ahead too fast, since I had as yet produced nothing for him. The King, who was exceedingly generous, replied: "For that very reason will I put heart and hope into him." The Cardinal, ashamed at his own meanness, said: "Sire, I beg you to leave that to me; I will allow him a pension of at least three hundred crowns when have taken possession of the abbey." He never gave me anything; and it would be tedious to relate all the knavish tricks of this prelate. I prefer to dwell on matters of greater moment.



XV

WHEN I returned to Paris, the great favour shown me by the King made me a mark for all men's admiration. I received the silver and began my statue of Jupiter. Many journeymen were now in my employ; and the work went onward briskly day and night; so that, by the time I had finished the clay models of Jupiter, Vulcan, and Mars, and had begun to get the silver statue forward, my workshop made already a grand show.

The King now came to Paris, and I went to pay him my respects. No sooner had his Majesty set eyes upon me than he called me cheerfully, and asked if I had something fine to exhibit at my lodging, for he would come to inspect it. I related all I had been doing; upon which he was seized with a strong desire to come. Accordingly, after this dinner, he set off with Madame de Tampes, the Cardinal of Lorraine, and some other of his greatest nobles, among whom were the King of Navarre, his cousin, and the Queen, his sister; the Dauphin and Dauphiness also attended him; so that upon that day the very flower of the French court came to visit me. [1] I had been some time at home, and was hard at work. When the King arrived at the door of the castle, and heard our hammers going, he bade his company keep silence. Everybody in my house was busily employed, so that the unexpected entrance of his Majesty took me by surprise. The first thing he saw on coming into the great hall was myself with a huge plate of silver in my hand, which I was beating for the body of my Jupiter; one of my men was finishing the head, another the legs; and it is easy to imagine what a din we made between us. It happened that a little French lad was working at my side, who had just been guilty of some trifling blunder. I gave the lad a kick, and, as my good luck would have it, caught him with my foot exactly in the fork between his legs, and sent him spinning several yards, so that he came stumbling up against the King precisely at the moment when his Majesty arrived. The King was vastly amused, but I felt covered with confusion. He began to ask me what I was engaged upon, and told me to go on working; then he said that he would much rather have me not employ my strength on manual labour, but take as many men as I wanted, and make them do the rough work; he should like me to keep myself in health, in order that he might enjoy my services through many years to come. I replied to his Majesty that the moment I left off working I should fall ill; also that my art itself would suffer, and not attain the mark I aimed at for his Majesty. Thinking that I spoke thus only to brag, and not because it was the truth, he made the Cardinal of Lorraine repeat what he had said; but I explained my reasons so fully and clearly, that the Cardinal perceived my drift; he then advised the King to let me labour as much or little as I liked.

Note 1. These personages were Madame d'Etampes, the King's mistress; John of Lorraine, son of Duke Renee II., who was made Cardinal in 1518; Henri d'Albret II. and Marguerite de Valois, his wife; the Duaphin, afterwards Henri II., and his wife, the celebrated Caterina de' Medici, daughter of Lorenzo, Duke of Urbino.



XVI

BEING very well satisfied with what he had seen, the King returned to his palace, after bestowing on me too many marks of favour to be here recorded. On the following day he sent for me at his dinner-hour. The Cardinal of Ferrara was there at meat with him. When I arrived, the King had reached his second course; he began at once to speak to me, saying, with a pleasant cheer, that having now so fine a basin and jug of my workmanship, he wanted an equally handsome salt-cellar to match them; and begged me to make a design, and to lose no time about it. I replied: "Your Majesty shall see a model of the sort even sooner than you have commanded; for while I was making the basin, I thought there ought to be a saltcellar to match it; therefore I have already designed one, and if it is your pleasure, I will at once exhibit my conception." The King turned with a lively movement of surprise and pleasure to the lords in his company—they were the King of Navarre, the Cardinal of Lorraine, and the Cardinal of Ferrara—exclaiming as he did so: "Upon my word, this is a man to be loved and cherished by every one who knows him." Then he told me that he would very gladly see my model.

I set off, and returned in a few minutes; for I had only to cross the river, that is, the Seine. I carried with me the wax model which I had made in Rome at the Cardinal of Ferrara's request. When I appeared again before the King and uncovered my piece, he cried out in astonishment: "This is a hundred times more divine a thing that I had ever dreamed of. What a miracle of a man! He ought never to stop working." Then he turned to me with a beaming countenance, and told me that he greatly liked the piece, and wished me to execute it in gold. The Cardinal of Ferrara looked me in the face, and let me understand that he recognised the model as the same which I had made for him in Rome. I replied that I had already told him I should carry it out for one who was worthy of it. The Cardinal, remembering my words, and nettled by the revenge he thought that I was taking on him, remarked to the King: "Sire, this is an enormous undertaking; I am only afraid that we shall never see it finished. These able artists who have great conceptions in their brain are ready enough to put the same in execution without duly considering when they are to be accomplished. I therefore, if I gave commission for things of such magnitude, should like to know when I was likely to get them." The King replied that if a man was so scrupulous about the termination of a work, he would never begin anything at all; these words he uttered with a certain look, which implied that such enterprises were not for folk of little spirit. I then began to say my say: "Princes who put heart and courage in their servants, as your Majesty does by deed and word, render undertakings of the greatest magnitude quite easy. Now that God has sent me so magnificent a patron, I hope to perform for him a multitude of great and splendid master-pieces." "I believe it, " said the King, and rose from table. Then he called me into his chamber, and asked me how much gold was wanted for the salt-cellar. "A thousand crowns," I answered. He called his treasurer at once, who was the Viscount of Orbec, and ordered him that very day to disburse to me a thousand crowns of good weight and old gold.

When I left his Majesty, I went for the two notaries who had helped me in procuring silver for the Jupiter and many other things. Crossing the Seine, I then took a small hand-basket, which one of my cousins, a nun, had given me on my journey through Florence. It made for my good fortune that I took this basket and not a bag. So then, thinking I could do the business by daylight, for it was still early, and not caring to interrupt my workmen, and being indisposed to take a servant with me, I set off alone. When I reached the house of the treasurer, I found that he had the money laid out before him, and was selecting the best pieces as the King had ordered. It seemed to me, however, that that thief of a treasurer was doing all he could to postpone the payment of the money; nor were the pieces counted out until three hours after nightfall.

I meanwhile was not wanting in despatch, for I sent word to several of my journeymen that they should come and attend me, since the matter was one of serious importance. When I found that they did not arrive, I asked the messenger if he had done my errand. The rascal of a groom whom I had sent replied that he had done so, but that they had answered that they could not come; he, however, would gladly carry the money for me. I answered that I meant to carry the money myself. But this time the contract was drawn up and signed. On the money being counted, I put it all into my little basket, and then thrust my arm through the two handles. Since I did this with some difficulty, the gold was well shut in, and I carried it more conveniently than if the vehicle had been a bag. I was well armed with shirt and sleeves of mail, and having my sword and dagger at my side, made off along the street as quick as my two legs would carry me.



XVII

JUST as I left the house, I observed some servants whispering among themselves, who also went off at a round pace in another direction from the one I took. Walking with all haste, I passed the bridge of the Exchange, [1] and went up along a wall beside the river which led to my lodging in the castle. I had just come to the Augustines—now this was a very perilous passage, and though it was only five hundred paces distant from my dwelling, yet the lodging in the castle being quite as far removed inside, no one could have heard my voice if I had shouted—when I saw four men with four swords in their hands advancing to attack me. [2] My resolution was taken in an instant. I covered the basket with my cape, drew my sword, and seeing that they were pushing hotly forward, cried aloud: "With soldiers there is only the cape and sword to gain; and these, before I give them up, I hope you'll get not much to your advantage." Then crossing my sword boldly with them, I more than once spread out my arms, in order that, if the ruffians were put on by the servants who had seen me take my money, they might be led to judge I was not carrying it. The encounter was soon over; for they retired step by step, saying among themselves in their own language: "This is a brave Italian, and certainly not the man we are after; or if he be the man, he cannot be carrying anything." I spoke Italian, and kept harrying them with thrust and slash so hotly that I narrowly missed killing one or the other. My skill in using the sword made them think I was a soldier rather than a fellow of some other calling. They drew together and began to fall back, muttering all the while beneath their breath in their own tongue. I meanwhile continued always calling out, but not too loudly, that those who wanted my cape and blade would have to get them with some trouble. Then I quickened pace, while they still followed slowly at my heels; this augmented my fear, for I thought I might be falling into an ambuscade, which would have cut me off in front as well as rear. Accordingly, when I was at the distance of a hundred paces from my home, I ran with all my might, and shouted at the top of my voice: "To arms, to arms! out with you, out with you! I am being murdered." In a moment four of my young men came running, with four pikes in their hands. They wanted to pursue the ruffians, who could still be seen; but I stopped them, calling back so as to let the villains hear: "Those cowards yonder, four against one man alone, had not pluck enough to capture a thousand golden crowns in metal, which have almost broken this arm of mine. Let us haste inside and put the money away; then I will take my big two-handed sword, and go with you whithersoever you like." We went inside to secure the gold; and my lads, while expressing deep concern for the peril I had run, gently chided me, and said: "You risk yourself too much alone; the time will come when you will make us all bemoan your loss." A thousand words and exclamations were exchanged between us; my adversaries took to flight; and we all sat down and supped together with mirth and gladness, laughing over those great blows which fortune strikes, for good as well as evil, and which, what time they do not hit the mark, are just the same as though they had not happened. [3] It is very true that one says to oneself: "You will have had a lesson for next time." But that is not the case; for fortune always comes upon us in new ways, quite unforeseen by our imagination.

Note 1. The Pont du Change, replaced by the Pont Neuf.

Note 2. The excitement of his recollection makes Cellini more than usually incoherent about this episode. The translator has to collect the whole sense of the passage.

Note 3. Cellini's philosophy is summed up in the proverb: "A miss is as good as a mile."



XVIII

ON the morning which followed these events, I made the first step in my work upon the great salt-cellar, pressing this and my other pieces forward with incessant industry. My workpeople at this time, who were pretty numerous, included both sculptors and goldsmiths. They belonged to several nations, Italian, French, and German; for I took the best I could find, and changed them often, retaining only those who knew their business well. These select craftsmen I worked to the bone with perpetual labour. They wanted to rival me; but I had a better constitution. Consequently, in their inability to bear up against such a continuous strain, they took to eating and drinking copiously, some of the Germans in particular, who were more skilled than their comrades, and wanted to march apace with me, sank under these excesses, and perished.

While I was at work upon the Jupiter, I noticed that I had plenty of silver to spare. So I took in hand, without consulting the King, to make a great two-handled vase, about one cubit and a half in height. I also conceived the notion of casting the large model of my Jupiter in bronze. Having up to this date done nothing of the sort, I conferred with certain old men experienced in that art at Paris, and described to them the methods in use with us in Italy. They told me they had never gone that way about the business; but that if I gave them leave to act upon their own principles, they would bring the bronze out as clean and perfect as the clay. I chose to strike an agreement, throwing on them the responsibility, and promising several crowns above the price they bargained for. Thereupon they put the work in progress; but I soon saw that they were going the wrong way about it, and began on my own account a head of Julius Caesar, bust and armour, much larger than the life, which I modelled from a reduced copy of a splendid antique portrait I had brought with me from Rome. I also undertook another head of the same size, studied from a very handsome girl, whom I kept for my own pleasures. I called this Fontainebleau, after the place selected by the King for his particular delight.

We constructed an admirable little furnace for the casting of the bronze, got all things ready, and baked our moulds; those French masters undertaking the Jupiter, while I looked after my two heads. Then I said: "I do not think you will succeed with your Jupiter, because you have not provided sufficient vents beneath for the air to circulate; therefore you are but losing your time and trouble." They replied that, if their work proved a failure, they would pay back the money I had given on account, and recoup me for current expenses; but they bade me give good heed to my own proceedings, [1] for the fine heads I meant to cast in my Italian fashion would never succeed.

At this dispute between us there were present the treasurers and other gentlefolk commissioned by the King to superintend my proceedings. Everything which passed by word or act was duly reported to his Majesty. The two old men who had undertaken to cast my Jupiter postponed the experiment, saying they would like to arrange the moulds of my two heads. They argued that, according to my method, no success could be expected, and it was a pity to waste such fine models. When the King was informed of this, he sent word that they should give their minds to learning, and not try to teach their master.

So then they put their now piece into the furnace with much laughter; while I, maintaining a firm carriage, showing neither mirth nor anger (though I felt it), placed my two heads, one on each side of the Jupiter. The metal came all right to melting, and we let it in with joy and gladness; it filled the mould of the Jupiter most admirably, and at the same time my two heads. This furnished them with matter for rejoicing and me with satisfaction; for I was not sorry to have predicted wrongly of their work, and they made as though they were delighted to have been mistaken about mine. Then, as the custom in France is, they asked to drink, in high good spirits. I was very willing, and ordered a handsome collation for their entertainment. When this was over, they requested me to pay the money due to them and the surplus I had promised. I replied: "You have been laughing over what, I fear, may make you weep. On reflection, it seems to me that too much metal flowed into you mould. Therefore I shall wait until to-morrow before I disburse more money." The poor fellows swallowed my words and chewed the cud of them; then they went home without further argument.

At daybreak they began, quite quietly, to break into the pit of the furnace. They could not uncover their large mould until they had extracted my two heads; these were in excellent condition, and they placed them where they could be well seen. When they came to Jupiter, and had dug but scarcely two cubits, they sent up such a yell, they and their four workmen, that it woke me up. Fancying it was a shout of triumph, I set off running, for my bedroom was at the distance of more than five hundred paces. On reaching the spot, I found them looking like the guardians of Christ's sepulchre in a picture, downcast and terrified. Casting a hasty glance upon my two heads, and seeing they were all right, I tempered my annoyance with the pleasure that sight gave me. Then they began to make excuses, crying: "Our bad luck!" I retorted: "Your luck has been most excellent, but what has been indeed bad is your deficiency of knowledge; had I only seen you put the soul [2] into your mould, I could have taught you with one word how to cast the figure without fault. This would have brought me great honour and you much profit. I shall be able to make good my reputation; but you will now lose both your honour and your profit. Let then this lesson teach you another time to work, and not to poke fun at your masters."

Note 1. 'Ma che io guardassi bene, che, &c.' This is perhaps: 'but they bade me note well that.'

Note 2. I have here translated the Italian 'anima' literally by the English word soul. It is a technical expression, signifying the block, somewhat smaller than the mould, which bronze-founders insert in order to obtain a hollow, and not a solid cast from the mould which gives form to their liquid metal.



XIX

ABOUT this time the illustrious soldier Piero Strozzi arrived in France, and reminded the King that he had promised him letters of naturalisation. These were accordingly made out; and at the same time the King said: "Let them be also given to Benvenuto, mon ami, and take them immediately to his house, and let him have them without the payment of any fees." Those of the great Strozzi [1] cost him several hundred ducats: mine were brought me by one of the King's chief secretaries, Messer Antonio Massone, [2] This gentleman presented them with many expressions of kindness from his Majesty, saying: "The King makes you a gift of these, in order that you may be encouraged to serve him,; they are letters of naturalisation." Then he told me how they had been given to Piero Strozzi at his particular request, and only after a long time of waiting, as a special mark of favour; the King had sent mine of his own accord, and such an act of grace had never been heard of in that realm before. When I heard these words, I thanked his Majesty with heartiness; but I begged the secretary to have the kindness to tell me what letters of naturalisation meant. He was a man accomplished and polite, who spoke Italian excellently. At first my question made him laugh; then he recovered his gravity, and told me in my own language what the papers signified, adding that they conferred one of the highest dignities a foreigner could obtain: "indeed, it is a far greater honour than to be made a nobleman of Venice."

When he left me, he returned and told his Majesty, who laughed awhile, and then said: "Now I wish him to know my object in sending those letters of naturalisation. Go and install him lord of the castle of the Little Nello, where he lives, and which is a part of my demesne, He will know what that means better than he understood about the letters of naturalisation." A messenger brought me the patent, upon which I wanted to give him a gratuity. He refused to accept it, saying that his Majesty had so ordered. These letters of naturalisation, together with the patent for the castle, I brought with me when I returned to Italy; wherever I go and wherever I may end my days, I shall endeavour to preserve them. 3

Note 1. Piero was the son of Filippo Strozzi, and the general who lost the battle of Montemurlo, so disastrous to the Florentine exiles, in 1537.

Note 2. Antoine le Macon, secretary to Margaret of Navarre. He translated the 'Decameron' at her instance into French.

Note 3. The letter of naturalisation exists. See 'Bianchi,' p. 583. For the grant of the castle, see 'ibid.,' p. 585.



XX

I SHALL now proceed with the narration of my life. I had on hand the following works already mentioned, namely, the silver Jupiter, the golden salt-cellar, the great silver vase, and the two bronze heads. I also began to cast the pedestal for Jupiter, which I wrought very richly in bronze, covered with ornaments, among which was a bas-relief, representing the rape of Ganymede, and on the other side Leda and the Swan. On casting this piece it came out admirably. I also made another pedestal of the same sort for the statute of Juno, intending to begin that too, if the King gave me silver for the purpose. By working briskly I had put together the silver Jupiter and the golden salt-cellar; the vase was far advanced; the two bronze heads were finished. I had also made several little things for the Cardinal of Ferrara, and a small silver vase of rich workmanship, which I meant to present to Madame d'Etampes. Several Italian noblemen, to wit, Signor Piero Strozzi, the Count of Anguillara, the Count of Pitigliano, the Count of Mirandola, and many others, gave me employment also. 1

For my great King, as I have said, I had been working strenuously, and the third day after he returned to Paris, he came to my house, attended by a crowd of his chief nobles. He marvelled to find how many pieces I had advanced, and with what excellent results. His mistress, Madame d'Etampes, being with him, they began to talk of Fontainebleau. She told his Majesty he ought to commission me to execute something beautiful for the decoration of his favourite residence. He answered on the instant: "You say well, and here upon the spot I will make up my mind what I mean him to do." Then he turned to me, and asked me what I thought would be appropriate for that beautiful fountain. [2] I suggested several ideas, and his Majesty expressed his own opinion. Afterwards he said that he was going to spend fifteen or twenty days at San Germano del Aia, [3] a place twelve leagues distant from Paris; during his absence he wished me to make a model for that fair fountain of his in the richest style I could invent, seeing he delighted in that residence more than in anything else in his whole realm. Accordingly he commanded and besought me to do my utmost to produce something really beautiful; and I promised that I would do so.

When the King saw so many finished things before him, he exclaimed to Madame d'Etampes: "I never had an artist who pleased me more, nor one who deserved better to be well rewarded; we must contrive to keep him with us. He spends freely, is a boon companion, and works hard; we must therefore take good thought for him. Only think, madam, all the times that he has come to me or that I have come to him, he has never once asked for anything; one can see that his heart is entirely devoted to his work. We ought to make a point of doing something for him quickly, else we run a risk of losing him." Madame d'Etampes answered: "I will be sure to remind you." Then they departed, and in addition to the things I had begun, I now took the model of the fountain in hand, at which I worked assiduously.

Note 1. Anguillara and Pitigliano were fiefs of two separate branches of the Orsini family. The house of Pico lost their lordship of Mirandola in 1536, when Galeotto Pico took refuge with his sons in France. His descendants renewed their hold upon the fief, which was erected into a duchy in 1619.

Note 2. 'Per quella bella fonte.' Here, and below, Cellini mixes up Fontainebleau and the spring which gave its name to the place.

Note 3. S. Germain-en-laye is not so far from Paris as Cellini thought.



XXI

AT the end of a month and a half the King returned to Paris; and I, who had been working day and night, went to present myself before him, taking my model, so well blocked out that my intention could be clearly understood. Just about that time, the devilries of war between the Emperor and King had been stirred up again, so that I found him much harassed by anxieties. [1] I spoke, however, with the Cardinal of Ferrara, saying I had brought some models which his Majesty had ordered, and begging him, if he found an opportunity, to put in a word whereby I might be able to exhibit them; the King, I thought, would take much pleasure in their sight. This the Cardinal did; and no sooner had he spoken of the models, than the King came to the place where I had set them up. The first of these was intended for the door of the palace at Fontainebleau. I had been obliged to make some alterations in the architecture of this door, which was wide and low, in their vicious French style. The opening was very nearly square, and above it was a hemicycle, flattened like the handle of a basket; here the King wanted a figure placed to represent the genius of Fontainebleau. I corrected the proportions of the doorway, and placed above it an exact half circle; at the sides I introduced projections, with socles and cornices properly corresponding: then, instead of the columns demanded by this disposition of parts, I fashioned two satyrs, one upon each side. The first of these was in somewhat more than half-relief, lifting one hand to support the cornice, and holding a thick club in the other; his face was fiery and menacing, instilling fear into the beholders. The other had the same posture of support; but I varied his features and some other details; in his hand, for instance, he held a lash with three balls attached to chains. Though I call them satyrs, they showed nothing of the satyr except little horns and a goatish head; all the rest of their form was human. In the lunette above I placed a female figure lying in an attitude of noble grace; she rested her left arm on a stag's neck, this animal being one of the King's emblems. On one side I worked little fawns in half relief, with some wild boars and other game in lower relief; on the other side were hounds and divers dogs of the chase of several species, such as may be seen in that fair forest where the fountain springs. The whole of this composition was enclosed in an oblong, each angle of which contained a Victory in bas-relief, holding torches after the manner of the ancients. Above the oblong was a salamander, the King's particular device, with many other ornaments appropriate to the Ionic architecture of the whole design.

Note 1. Cellini refers to the renewal of hostilities in May 1542.



XXII

WHEN the King had seen this model, it restored him to cheerfulness, and distracted his mind from the fatiguing debates he had been holding during the past two hours. Seeing him cheerful as I wished, I uncovered the other model, which he was far from expecting, since he not unreasonably judged that the first had work in it enough. This one was a little higher than two cubits; it figured a fountain shaped in a perfect square, with handsome steps all round, intersecting each other in a way which was unknown in France, and is indeed very uncommon in Italy. In the middle of the fountain I set a pedestal, projecting somewhat above the margin of the basin, and upon this a nude male figure, of the right proportion to the whole design, and of a very graceful form. In his right hand he raised a broken lance on high; his left hand rested on a scimitar; he was poised upon the left foot, the right being supported by a helmet of the richest imaginable workmanship. At each of the four angles of the fountain a figure was sitting, raised above the level of the base, and accompanied by many beautiful and appropriate emblems.

The King began by asking me what I meant to represent by the fine fancy I had embodied in this design, saying that he had understood the door without explanation, but that he could not take the conception of my fountain, although it seemed to him most beautiful; at the same time, he knew well that I was not like those foolish folk who turn out something with a kind of grace, but put no intention into their performances. I then addressed myself to the task of exposition; for having succeeded in pleasing him with my work, I wanted him to be no less pleased with my discourse. "Let me inform your sacred Majesty," I thus began, "that the whole of this model is so exactly made to scale, that if it should come to being executed in the large, none of its grace and lightness will be sacrificed. The figure in the middle is meant to stand fifty-four feet above the level of the ground." At this announcement the King made a sign of surprise. "It is, moreover, intended to represent the god Mars. The other figures embody those arts and sciences in which your Majesty takes pleasure, and which you so generously patronise. This one, upon the right hand, is designed for Learning; you will observe that the accompanying emblems indicate Philosophy, and her attendant branches of knowledge. By the next I wished to personify the whole Art of Design, including Sculpture, Painting, and Architecture. The third is Music, which cannot be omitted from the sphere of intellectual culture. That other, with so gracious and benign a mien, stands for Generosity, lacking which the mental gifts bestowed on us by God will not be brought to view. I have attempted to portray your Majesty, your very self, in the great central statue; for you are truly a god Mars, the only brave upon this globe, and all your bravery you use with justice and with piety in the defence of your own glory." Scarcely had he allowed me to finish this oration, when he broke forth with a strong voice: "Verily I have found a man here after my own heart." Then he called the treasurers who were appointed for my supplies, and told them to disburse whatever I required, let the cost be what it might. Next, he laid his hand upon my shoulder, saying: '"Mon ami' (which is the same as 'my friend'), I know not whether the pleasure be greater for the prince who finds a man after his own heart, or for the artist who finds a prince willing to furnish him with means for carrying out his great ideas." I answered that, if I was really the man his Majesty described, my good fortune was by far the greater. He answered laughingly: "Let us agree, then, that our luck is equal!" Then I departed in the highest spirits, and went back to my work.



XXIII

MY ill-luck willed that I was not wide-awake enough to play the like comedy with Madame d'Etampes. That evening, when she heard the whole course of events from the King's own lips, it bred such poisonous fury in her breast that she exclaimed with anger: "If Benvenuto had shown me those fine things of his, he would have given me some reason to be mindful of him at the proper moment." The King sought to excuse me, but he made no impression on her temper. Being informed of what had passed, I waited fifteen days, during which they made a tour through Normandy, visiting Rouen and Dieppe; then, when they returned to S. Germain-en-Laye, I took the handsome little vase which I had made at the request of Madame d'Etampes, hoping, if I gave it her, to recover the favour I had lost. With this in my hand, then, I announced my presence to her nurse, and showed the gift which I had brought her mistress; the woman received me with demonstrations of good-will, and said that she would speak a word to Madame, who was still engaged upon her toilette; I should be admitted on the instant, when she had discharged her embassy. The nurse made her report in full to Madame, who retorted scornfully: "Tell him to wait." On hearing this, I clothed myself with patience, which of all things I find the most difficult. Nevertheless, I kept myself under control until the hour for dinner was past. Then, seeing that time dragged on, and being maddened by hunger, I could no longer hold out, but flung off, sending her most devoutly to the devil.

I next betook myself to the Cardinal of Lorraine, and made him a present of the vase, only petitioning his Eminence to maintain me in the King's good graces. He said there was no need for this; and if there were need he would gladly speak for me. Then he called his treasurer, and whispered a few words in his ear. The treasurer waited till I took my leave of the Cardinal; after which he said to me: "Benvenuto, come with me, and I will give you a glass of good wine to drink." I answered, not understanding what he meant: "For Heaven's sake, Mr. Treasurer, let me have but one glass of wine and a mouthful of bread; for I am really fainting for want of food. I have fasted since early this morning up to the present moment, at the door of Madame d'Etampes; I went to give her that fine piece of silver-gilt plate, and took pains that she would be informed of my intention; but she, with the mere petty will to vex me, bade me wait; now I am famished, and feel my forces failing; and, as God willed it, I have bestowed my gift and labour upon one who is far more worthy of them. I only crave of you something to drink; for being rather too bilious by nature, fast upsets me so that I run the risk now of falling from exhaustion to the earth." While I was pumping out these words with difficulty, they brought some admirable wine and other delicacies for a hearty meal. I refreshed myself, and having recovered my vital spirits, found that my exasperation had departed from me.

The good treasurer handed me a hundred crowns in gold. I sturdily refused to accept them. He reported this to the Cardinal, who swore at him, and told him to make me take the money by force, and not to show himself again till he had done so. The treasurer returned, much irritated, saying he had never been so scolded before by the Cardinal; but when he pressed the crowns upon me, I still offered some resistance. Then, quite angry, he said he would use force to make me take them. So I accepted the money. When I wanted to thank the Cardinal in person, he sent word by one of his secretaries that he would gladly do me a service whenever the occasion offered. I returned the same evening to Paris. The King heard the whole history, and Madame d'Etampes was well laughed at in their company. This increased her animosity against me, and led to an attack upon my life, of which I shall speak in the proper time and place.



XXIV

FAR back in my autobiography I ought to have recorded the friendship which I won with the most cultivated, the most affectionate, and the most companionable man of worth I ever knew in this world. He was Messer Guido Guidi, an able physician and doctor of medicine, and a nobleman of Florence. [1] The infinite troubles brought upon me by my evil fortune caused me to omit the mention of him at an earlier date; and though my remembrance may be but a trifle, I deemed it sufficient to keep him always in my heart. Yet, finding that the drama of my life requires his presence, I shall introduce him here at the moment of my greatest trials, in order that, as he was then my comfort and support, I may now recall to memory the good he did me. 2

Well, then, Messer Guido came to Paris; and not long after making his acquaintance, I took him to my castle, and there assigned him his own suite of apartments. We enjoyed our lives together in that place for several years. The Bishop of Pavia, that is to say, Monsignore de' Rossi, brother of the Count of San Secondo, also arrived. [3] This gentleman I removed from his hotel, and took him to my castle, assigning him in like manner his own suite of apartments, where he sojourned many months with serving-men and horses. On another occasion I lodged Messer Luigi Alamanni and his sons for some months. It was indeed God's grace to me that I should thus, in my poor station, be able to render services to men of great position and acquirements.

But to return to Messer Guido. We enjoyed our mutual friendship during all the years I stayed in Paris, and often did we exult together on being able to advance in art and knowledge at the cost of that so great and admirable prince, our patron, each in his own branch of industry. I can indeed, and with good conscience, affirm that all I am, whatever of good and beautiful I have produced, all this must be ascribed to that extraordinary monarch. So, then, I will resume the thread of my discourse concerning him and the great things I wrought for him.

Note 1. Son of Giuliano Guidi and Costanza, a daughter of Domenico Ghirlandajo. Francois I sent for him some time before 1542, appointed him his own physician, and professor of medicine in the Royal College. He returned to Florence in 1548.

Note 2. Qui mi faccia memoria di quel bene. This is obscure. 'Quel bene' may mean 'the happiness of his friendship.'

Note 3. We have already met with him in the Castle of S. Angelo. His brother, the Count, was general in the French army. This brought the Bishop to Paris, whence he returned to Italy in 1545.



XXV

I HAD a tennis-court in my castle, from which I drew considerable profit. The building also contained some little dwellings inhabited by different sorts of men, among whom was a printer of books of much excellence in his own trade. Nearly the whole of his premises lay inside the castle, and he was the man who printed Messer Guido's first fine book on medicine. [1] Wanting to make use of his lodging, I turned him out, but not without some trouble. There was also a manufacturer of saltpetre; and when I wished to assign his apartments to some of my German workmen, the fellow refused to leave the place. I asked him over and over again in gentle terms to give me up my rooms, because I wanted to employ them for my work-people in the service of the King. The more moderately I spoke, the more arrogantly did the brute reply; till at last I gave him three days' notice to quit. He laughed me in the face, and said that he would begin to think of it at the end of three years. I had not then learned that he was under the protection of Madame d'Etampes; but had it not been that the terms on which I stood toward that lady made me a little more circumspect than I was wont to be, I should have ousted him at once; now, however, I thought it best to keep my temper for three days. When the term was over, I said nothing, but took Germans, Italians, and Frenchmen, bearing arms, and many hand-labourers whom I had in my employ, and in a short while gutted all his house and flung his property outside my castle. I resorted to these somewhat rigorous measures because he had told me that no Italian whom he knew of had the power of spirit to remove one ring of iron from its place in his house. Well, after the deed was done, he came to find me, and I said to him: "I am the least of all Italians in Italy, and yet I have done nothing to you in comparison with what I have the heart to do, and will do if you utter a single further word," adding other terms of menace and abuse. The man, dumbfounded and affrighted, got his furniture together as well as he was able; then he ran off to Madame d'Etampes, and painted a picture of me like the very fiend. She being my great enemy, painted my portrait still blacker to the King, with all her greater eloquence and all her greater weight of influence. As I was afterwards informed, his Majesty twice showed signs of irritation and was minded to use me roughly: but Henry the Dauphin, his son, now King of France, who had received some affronts from that imperious woman, together with the Queen of Navarre, sister to King Francis, espoused my cause so cleverly that he passed the matter over with a laugh. So with God's assistance I escaped from a great danger.

Note 1. 'Chirurgia e Graeco in Latinum Conversa, Vido Vidio Florentino interprete, &c. Excudebat Petrus Galterius Luteciae Parisiorum, prid. Cal. Mai.' 1544. So this printer was Pierre Sauthier.



XXVI

I HAD to deal in like manner with another fellow, but I did not ruin his house; I only threw all his furniture out of doors. This time Madame d'Etampes had the insolence to tell the King: "I believe that devil will sack Paris one of these days." The King answered with some anger that I was only quite right to defend myself from the low rabble who put obstacles in the way of my serving him.

The rage of this vindictive woman kept continually on the increase. She sent for a painter who was established at Fontainebleau, where the King resided nearly all his time. The painter was an Italian and a Bolognese, known then as Il Bologna; his right name, however, was Francesco Primaticcio. [1] Madame d'Etampes advised him to beg that commission for the fountain which his Majesty had given me, adding that she would support him with all her ability; and upon this they agreed. Bologna was in an ecstasy of happiness, and thought himself sure of the affair, although such things were not in his line of art. He was, however, an excellent master of design, and had collected round him a troop of work-people formed in the school of Rosso, our Florentine painter, who was undoubtedly an artist of extraordinary merit; his own best qualities indeed were derived from the admirable manner of Rosso, who by this time had died.

These ingenious arguments, and the weighty influence of Madame d'Etampes, prevailed with the King; for they kept hammering at him night and day, Madame at one time, and Bologna at another. What worked most upon his mind was that both of them combined to speak as follows: "How is it possible, sacred Majesty, that Benvenuto should accomplish the twelve silver statues which you want? He has not finished one of them yet. If you employ him on so great an undertaking, you will, of necessity, deprive yourself of those other things on which your heart is set. A hundred of the ablest craftsmen could not complete so many great works as this one able man has taken in hand to do. One can see clearly that he has a passion for labour; but this ardent temper will be the cause of your Majesty's losing both him and his masterpieces at the same moment." By insinuating these and other suggestions of the same sort at a favourable opportunity, the King consented to their petition; and yet Bologna had at this time produced neither designs nor models for the fountain.

Note 1. Primaticcio, together with Rosso, introduced Italian painting into France. Vasari says he came to Paris in 1541. He died in 1570. He was, like many other of the Lombard artists, an excellent master of stucco.



XXVII

IT happened that just at this period an action was brought against me in Paris by the second lodger I had ousted from my castle, who pretended that on that occasion I had stolen a large quantity of his effects. This lawsuit tormented me beyond measure, and took up so much of my time that I often thought of decamping in despair from the country. Now the French are in the habit of making much capital out of any action they commence against a foreigner, or against such persons as they notice to be indolent in litigation. No sooner do they observe that they are getting some advantage in the suit, than they find the means to sell it; some have even been known to give a lawsuit in dowry with their daughters to men who make a business out of such transactions. They have another ugly custom, which is that the Normans, nearly all of them, traffic in false evidence; so that the men who buy up lawsuits, engage at once the services of four or six of these false witnesses, according to their need; their adversary, if he neglect to produce as many on the other side, being perhaps unacquainted with the custom, is certain to have the verdict given against him.

All this happened in my case, and thinking it a most disgraceful breach of justice, I made my appearance in the great hall of Paris, to defend my right. There I saw a judge, lieutenant for the King in civil causes, enthroned upon a high tribunal. He was tall, stout, and fat, and of an extremely severe countenance. All round him on each side stood a crowd of solicitors and advocates, ranged upon the right hand and the left. Others were coming, one by one, to explain their several causes to the judge. From time to time, too, I noticed that the attorneys at the side of the tribunal talked all at once: and much admiration was roused in me by that extraordinary man, the very image of Pluto, who listened with marked attention first to one and then to the other, answering each with learning and sagacity. I have always delighted in watching and experiencing every kind of skill; so I would not have lost this spectacle for much. It happened that the hall being very large, and filled with a multitude of folk, they were strict in excluding every one who had no business there, and kept the door shut with a guard to hold it. Sometimes the guardian, in his effort to prevent the entrance of some improper person, interrupted the judge by the great noise he made, and the judge in anger turned to chide him. This happened frequently, so that my attention was directed to the fact. On one occasion, when two gentlemen were pushing their way in as spectators, and the porter was opposing them with violence, the judge raised his voice, and spoke the following words precisely as I heard them: "Keep peace, Satan, begone, and hold your tongue." These words in the French tongue sound as follows: 'Phe phe, Satan, Phe, Phe, ale, phe!' [1] Now I had learned the French tongue well; and on hearing this sentence, the meaning of that phrase used by Dante came into my memory, when he and his master Virgil entered the doors of Hell. Dante and the painter Giotto were together in France, and particularly in the city of Paris, where, owing to the circumstances I have just described, the hall of justice may be truly called a hell. Dante then, who also understood French well, made use of the phrase in question, and it has struck me as singular that this interpretation has never yet been put upon the passage; indeed, it confirms my opinion that the commentators make him say things which never came into his head.

Note 1. 'Paix, paix, Satan, allez, paix.' The line in Dante to which Cellini alludes is the first of the seventh canto of the 'Inferno.' His suggestion is both curious and ingenious; but we have no reason to think that French judges used the same imprecations, when interrupted, in the thirteenth as they did in the sixteenth century, or that what Cellini heard on this occasion was more than an accidental similarity of sounds, striking his quick ear and awakening his lively memory.



XXVIII

WELL, then, to return to my affairs. When certain decisions of the court were sent me by those lawyers, and I perceived that my cause had been unjustly lost, I had recourse for my defence to a great dagger which I carried; for I have always taken pleasure in keeping fine weapons. The first man I attacked was the plaintiff who had sued me; and one evening I wounded him in the legs and arms so severely, taking care, however, not to kill him, that I deprived him of the use of both his legs. Then I sought out the other fellow who had brought the suit, and used him also in such wise that he dropped it.

Returning thanks to God for this and every other dispensation, and hoping to be left awhile without worries, I bade the young men of my household, especially the Italians, for God's sake to attend each diligently to the work I set him, and to help me till such time as I could finish the things I had in hand. I thought they might soon be completed, and then I meant to return to Italy, being no longer able to put up with the rogueries of those Frenchmen; the good King too, if he once grew angry, might bring me into mischief for many of my acts in self-defence. I will describe who these Italians were; the first, and the one I liked best, was Ascanio, from Tagliacozzo in the kingdom of Naples; the second was Pagolo, a Roman of such humble origin that he did now know his own father. These were the two men who had been with me in Rome, and whom I had taken with me on the journey. Another Roman had also come on purpose to enter my service; he too bore the name of Pagolo, and was the son of a poor nobleman of the family of the Macaroni; he had small acquirements in our art, but was an excellent and courageous swordsman. I had another from Ferrara called Bartolommeo Chioccia. There was also another from Florence named Pagolo Micceri; his brother, nicknamed "Il Gatta," was a clever clerk, but had spent too much money in managing the property of Tommaso Guadagni, a very wealthy merchant. This Gatta put in order for me the books in which I wrote the accounts of his most Christian Majesty and my other employers. Now Pagolo Micceri, having learned how to keep them from his brother, went on doing this work for me in return for a liberal salary. He appeared, so far as I could judge, to be a very honest lad, for I noticed him to be devout, and when I heard him sometimes muttering psalms, and sometimes telling his beads, I reckoned much upon his feigned virtue.

Accordingly I called the fellow apart and said to him, "Pagolo, my dearest brother, you know what a good place you have with me, and how you had formerly nothing to depend on; besides, you are a Florentine. I have also the greater confidence in you because I observe that you are pious and religious, which is a thing that pleases me. I beg you therefore to assist me, for I cannot put the same trust in any of your companions: so then I shall ask you to keep watch over two matters of the highest importance, which might prove a source of much annoyance to me. In the first place, I want you to guard my property from being stolen, and not touch it yourself. In the next place, you know that poor young girl, Caterina; I keep her principally for my art's sake, since I cannot do without a model; but being a man also, I have used her for my pleasures, and it is possible that she may bear me a child. Now I do not want to maintain another man's bastards, nor will I sit down under such an insult. If any one in this house had the audacity to attempt anything of the sort, and I were to become aware of it, I verily believe that I should kill both her and him. Accordingly, dear brother, I entreat you to be my helper; should you notice anything, tell it me at once; for I am sure to send her and her mother and her fellow to the gallows. Be you the first upon your watch against falling into this snare." The rascal made a sign of the cross from his head to his feet and cried out: "O blessed Jesus! God preserve me from ever thinking of such a thing! In the first place, I am not given to those evil ways; in the next place, do you imagine I am ignorant of your great benefits toward me?" When I heard these words, which he uttered with all appearance of simplicity and affection for me, I believed that matters stood precisely as he asserted.



XXIX

TWO days after this conversation, M. Mattio del Nazaro took the occasion of some feast-day to invite me and my workpeople to an entertainment in a garden. [1] He was an Italian in the King's service, and practised the same art as we did with remarkable ability. I got myself in readiness, and told Pagolo that he might go abroad too and amuse himself with us; the annoyances arising from that lawsuit being, as I judged, now settled down. The young man replied in these words: "Upon my word, it would be a great mistake to leave the house so unprotected. Only look how much of gold, silver, and jewels you have here. Living as we do in a city of thieves, we ought to be upon our guard by day and night. I will spend the time in religious exercises, while I keep watch over the premises. Go then with mind at rest to take your pleasure and divert your spirits. Some other day another man will take my place as guardian here."

Thinking that I could go of with a quiet mind, I took Pagolo, Ascanio, and Chioccia to the garden, where we spent a large portion of the day agreeably. Toward the middle of the afternoon, however, when it began to draw toward sundown, a suspicion came into my head, and I recollected the words which that traitor had spoken with his feigned simplicity. So I mounted my horse, and with two servants to attend me, returned to the castle, where I all but caught Pagolo and that little wretch Caterina 'in flagrante.' No sooner had I reached the place, than that French bawd, her mother, screamed out: "Pagolo! Caterina! here is the master!" When I saw the pair advancing, overcome with fright, their clothes in disorder, not knowing what they said, nor, like people in a trance, where they were going, it was only too easy to guess what they had been about. The sight drowned reason in rage, and I drew my sword, resolved to kill them both. The man took to his heels; the girl flung herself upon her knees, and shrieked to Heaven for mercy. In my first fury I wanted to strike at the male; but before I had the time to catch him up, second thoughts arose which made me think it would be best for me to drive them both away together. I had so many acts of violence upon my hands, that if I killed him I could hardly hope to save my life. I said then to Pagolo: "Had I seen with my own eyes, scoundrel, what your behaviour and appearance force me to believe, I should have run you with this sword here ten times through the guts. Get out of my sight; and if you say a Paternoster, let it be San Giuliano's." [2] Then I drove the whole lot forth, mother and daughter, lamming into them with fist and foot. They made their minds up to have the law of me, and consulted a Norman advocate, who advised them to declare that I had used the girl after the Italian fashion; what this meant I need hardly explain. [3] The man argued: "At the very least, when this Italian hears what you are after, he will pay down several hundred ducats, knowing how great the danger is, and how heavily that offence is punished in France." Upon this they were agreed. The accusation was brought against me, and I received a summons from the court.

Note 1. Matteo del Nassaro, a native of Verona, was employed in France as engraver, die-caster, and musician.

Note 2. See Boccaccio, 'Decam.,' Gior. ii. Nov. ii.

Note 3. 'Qual modo s'intendeva contro natura, cioe in soddomia.'



XXX

THE MORE I sought for rest, the more I was annoyed with all sorts of embarrassments. Being thus daily exposed to divers persecutions, I pondered which of two courses I ought to take; whether to decamp and leave France to the devil, or else to fight this battle through as I had done the rest, and see to what end God had made me. For a long while I kept anxiously revolving the matter. At last I resolved to make off, dreading to tempt my evil fortune, lest this should bring me to the gallows. My dispositions were all fixed; I had made arrangements for putting away the property I could not carry, and for charging the lighter articles, to the best of my ability, upon myself and servants; yet it was with great and heavy reluctance that I looked forward to such a departure.

I had shut myself up alone in a little study. My young men were advising me to fly; but I told them that it would be well for me to meditate this step in solitude, although I very much inclined to their opinion. Indeed, I reasoned that if I could escape imprisonment and let the storm pass over, I should be able to explain matters to the King by letter, setting forth the trap which had been laid to ruin me by the malice of my enemies. And as I have said above, my mind was made up to this point; when, just as I rose to act on the decision, some power took me by the shoulder and turned me round, and I heard a voice which cried with vehemence: "Benvenuto, do as thou art wont, and fear not!" Then, on the instant, I changed the whole course of my plans, and said to my Italians: "Take your good arms and come with me; obey me to the letter; have no other thought, for I am now determined to put in my appearance. If I were to leave Paris, you would vanish the next day in smoke; so do as I command, and follow me." They all began together with one heart and voice to say: "Since we are here, and draw our livelihood from him, it is our duty to go with him and bear him out so long as we have life to execute what he proposes. He has hit the mark better than we did in this matter; for on the instant when he leaves the place, his enemies will send us to the devil. Let us keep well in mind what great works we have begun here, and what vast importance they possess; we should not know how to finish them without him, and his enemies would say that he had taken flight because he shrank before such undertakings." Many other things bearing weightily upon the subject were said among them. But it was the young Roman, Macaroni, who first put heart into the company; and he also raised recruits from the Germans and the Frenchmen, who felt well disposed toward me.

We were ten men, all counted. I set out, firmly resolved not to let myself be taken and imprisoned alive. When we appeared before the judges for criminal affairs, I found Caterina and her mother waiting; and on the moment of my arrival, the two women were laughing with their advocate. I pushed my way in, and called boldly for the judge, who was seated, blown out big and fat, upon a tribunal high above the rest. On catching sight of me, he threatened with his head, and spoke in a subdued voice: "Although your name is Benvenuto, this time you are an ill-comer." I understood his speech, and called out the second time: "Despatch my business quickly. Tell me what I have come to do here." Then the judge turned to Caterina, and said: "Caterina, relate all that happened between you and Benvenuto." She answered that I had used her after the Italian fashion. The judge turned to me and said: "You hear what Caterina deposes, Benvenuto." I replied: "If I have consorted with her after the Italian fashion, I have only done the same as you folk of other nations do." He demurred: "She means that you improperly abused her." I retorted that, so far from being the Italian fashion, it must be some French habit, seeing she knew all about it, while I was ignorant; and I commanded her to explain precisely how I had consorted with her. Then the impudent baggage entered into plain and circumstantial details regarding all the filth she lyingly accused me of. I made her repeat her deposition three times in succession. When she had finished, I cried out with a loud voice: "Lord judge, lieutenant of the Most Christian King, I call on you for justice. Well I know that by the laws of his Most Christian Majesty both agent and patient in this kind of crime are punished with the stake. The woman confesses her guilt; I admit nothing whatsoever of the sort with regard to her; her go-between of a mother is here, who deserves to be burned for either one or the other offence. Therefore I appeal to you for justice." These words I repeated over and over again at the top of my voice, continually calling out: "To the stake with her and her mother!" I also threatened the judge that, if he did not send her to prison there before me, I would go to the King at once, and tell him how his lieutenant in criminal affairs of justice had wronged me. When they heard what a tumult I was making, my adversaries lowered their voices, but I lifted mine the more. The little hussy and her mother fell to weeping, while I shouted to the judge: "Fire, fire! to the stake with them!" The coward on the bench, finding that the matter was not going as he intended, began to use soft words and excuse the weakness of the female sex. Thereupon I felt that I had won the victory in a nasty encounter; and, muttering threats between my teeth, I took myself off, not without great inward satisfaction. Indeed, I would gladly have paid five hundred crowns down to have avoided that appearance in court. However, after escaping from the tempest, I thanked God with all my heart, and returned in gladness with my young men to the castle.



XXXI

WHEN adverse fortune, or, if we prefer to call it, our malignant planet, undertakes to persecute a man, it never lacks new ways of injuring him. So now, when I thought I had emerged from this tempestuous sea of troubles, and hoped my evil star would leave me quiet for a moment, it began to set two schemes in motion against me before I had recovered my breath from that great struggle. Within three days two things happened, each of which brought my life into extreme hazard. One of these occurred in this way: I went to Fontainebleau to consult with the King; for he had written me a letter saying he wanted me to stamp the coins of his whole realm, and enclosing some little drawings to explain his wishes in the matter; at the same time he left me free to execute them as I liked; upon which I made new designs according to my own conception, and according to the ideal of art. When I reached Fontainebleau, one of the treasurers commissioned by the King to defray my expenses (he was called Monsignor della Fa 1) addressed me in these words: "Benvenuto, the painter Bologna has obtained commission from the King to execute your great Colossus, and all the orders previously given as on your behalf have been transferred to him. [2] We are all indignant; and it seems to us that that countryman of yours has acted towards you in a most unwarrantable manner. The work was assigned you on the strength of your models and studies. He is robbing you of it, only through the favour of Madame d'Etampes; and though several months have passed since he received the order, he has not yet made any sign of commencing it." I answered in surprise: "How is it possible that I should have heard nothing at all about this?" He then informed me that the man had kept it very dark, and had obtained the King's commission with great difficulty, since his Majesty at first would not concede it; only the importunity of Madame d'Etampes secured this favour for him.

When I felt how greatly and how wrongfully I had been betrayed, and saw a work which I had gained with my great toil thus stolen from me, I made my mind up for a serious stroke of business, and marched off with my good sword at my side to find Bologna. [3] He was in his room, engaged in studies; after telling the servant to introduce me, he greeted me with some of his Lombard compliments, and asked what good business had brought me hither. I replied: "A most excellent business, and one of great importance." He then sent for wine, and said: "Before we begin to talk, we must drink together, for such is the French custom." I answered: "Messer Francesco, you must know that the conversation we have to engage in does not call for drinking at the commencement; after it is over, perhaps we shall be glad to take a glass." Then I opened the matter in this way: "All men who wish to pass for persons of worth allow it to be seen that they are so by their actions; if they do the contrary, they lose the name of honest men. I am aware that you knew the King had commissioned me with that great Colossus; it had been talked of these eighteen months past; yet neither you nor anybody else came forward to speak a word about it. By my great labours I made myself known to his Majesty, who approved of my models and gave the work into my hands. During many months I have heard nothing to the contrary; only this morning I was informed that you have got hold of it, and have filched it from me. I earned it by the talents I displayed, and you are robbing me of it merely by your idle talking."

Note 1. His name in full was Jacques de la Fa. He and his son Pierre after him held the office of 'tresorier de l'epargne.' See Plon, p. 63.

Note 2. By Colossus, Cellini means the fountain with the great statue of Mars.

Note 3. 'I. e.,' Primaticcio.



XXXII

TO this speech Bologna answered: "O Benvenuto! all men try to push their affairs in every way they can. If this is the King's will, what have you to say against it? You would only throw away your time, because I have it now, and it is mine. Now tell me what you choose, and I will listen to you." I replied: "I should like you to know, Messer Francesco, that I could say much which would prove irrefragably, and make you admit, that such ways of acting as you have described and used are not in vogue among rational animals. I will, however, come quickly to the point at issue; give close attention to my meaning, because the affair is serious." He made as though he would rise form the chair on which he was sitting, since he saw my colour heightened and my features greatly discomposed. I told him that the time had not yet come for moving; he had better sit and listen to me. Then I recommenced: "Messer Francesco, you know that I first received the work, and that the time has long gone by during which my right could be reasonably disputed by any one. Now I tell you that I shall be satisfied if you will make a model, while I make another in addition to the one I have already shown. Then we will take them without any clamour to our great King; and whosoever in this way shall have gained the credit of the best design will justly have deserved the commission. If it falls to you, I will dismiss from my mind the memory of the great injury you have done me, and will bless your hands, as being worthier than mine of so glorious a performance. Let us abide by this agreement, and we shall be friends; otherwise we must be enemies; and God, who always helps the right, and I, who know how to assert it, will show you to what extent you have done wrong." Messer Francesco answered: "The work is mine, and since it has been given me, I do not choose to put what is my own to hazard." To this I retorted: "Messer Francesco, if you will not take the right course which is just and reasonable, I will show you another which shall be like your own, that is to say, ugly and disagreeable. I tell you plainly that if I ever hear that you have spoken one single word about this work of mine, I will kill you like a dog. We are neither in Rome, nor in Bologna, nor in Florence; here one lives in quite a different fashion; if then it comes to my ears that you talk about this to the King or anybody else, I vow that I will kill you. Reflect upon the way you mean to take, whether that for good which I formerly described, or this latter bad one I have just now set before you."

The man did not know what to say or do, and I was inclined to cut the matter short upon the spot rather than to postpone action. Bologna found no other words than these to utter: "If I act like a man of honesty, I shall stand in no fear." I replied: "You have spoken well, but if you act otherwise, you will have to fear, because the affair is serious." Upon this I left him, and betook myself to the King. With his Majesty I disputed some time about the fashion of his coinage, a point upon which we were not of the same opinion; his council, who were present, kept persuading him that the monies ought to be struck in the French style, as they had hitherto always been done. I urged in reply that his Majesty had sent for me from Italy in order that I might execute good work; if he now wanted me to do the contrary, I could not bring myself to submit. So the matter was postponed till another occasion, and I set off again at once for Paris.



XXXIII

I HAD but just dismounted from my horse, when one of those excellent people who rejoice in mischief-making came to tell me that Pagolo Micceri had taken a house for the little hussy Caterina and her mother, and that he was always going there, and whenever he mentioned me, used words of scorn to this effect: "Benvenuto set the fox to watch the grapes, [1] and thought I would not eat them! Now he is satisfied with going about and talking big, and thinks I am afraid of him. But I have girt this sword and dagger to my side in order to show him that my steel can cut as well as his, and that I too am a Florentine, of the Micceri, a far better family than his Cellini." The scoundrel who reported this poisonous gossip spoke it with such good effect that I felt a fever in the instant swoop upon me; and when I say fever, I mean fever, and no mere metaphor. The insane passion which took possession of me might have been my death, had I not resolved to give it vent as the occasion offered. I ordered the Ferrarese workman, Chioccia, to come with me, and made a servant follow with my horse. When we reached the house where that worthless villain was, I found the door ajar, and entered. I noticed that he carried sword and dagger, and was sitting on a big chest with his arm round Caterina's neck; at the moment of my arrival, I could hear that he and her mother were talking about me. Pushing the door open, I drew my sword, and set the point of it at his throat, not giving him the time to think whether he too carried steel. At the same instant I cried out: "Vile coward! recommend your soul to God, for you are a dead man." Without budging from his seat, he called three times: "Mother, mother, help me!" Though I had come there fully determined to take his life, half my fury ebbed away when I heard this idiotic exclamation. I ought to add that I had told Chioccia not to let the girl or her mother leave the house, since I meant to deal with those trollops after I had disposed of their bully. So I went on holding my sword at his throat, and now and then just pricked him with the point, pouring out a torrent of terrific threats at the same time. But when I found he did not stir a finger in his own defence, I began to wonder what I should do next; my menacing attitude could not be kept up for ever; so at last it came into my head to make them marry, and complete my vengeance at a later period. Accordingly, I formed my resolution, and began: "Take that ring, coward, from your finger, and marry her, that I may get satisfaction from you afterwards according to your deserts." He replied at once: "If only you do not kill me, I will do whatever you command." "Then," said I, "put that ring upon her hand." When the sword's point was withdrawn a few inches from his throat, he wedded her with the ring. But I added: "This is not enough. I shall send for two notaries, in order that the marriage may be ratified by contract." Bidding Chioccia go for the lawyers, I turned to the girl and her mother, and, using the French language, spoke as follows: "Notaries and witnesses are coming; the first of you who blabs about this affair will be killed upon the spot; nay, I will murder you all three. So beware, and keep a quiet tongue in your heads." To him I said in Italian: "If you offer any resistance to what I shall propose, upon the slightest word you utter I will stab you till your guts run out upon this floor." He answered: "Only promise not to kill me, and I will do whatever you command." The notaries and witnesses arrived; a contract, valid and in due form, was drawn up; then my heat and fever left me. I paid the lawyers and took my departure.

On the following day Bologna came to Paris on purpose, and sent for me through Mattio del Nasaro. I went to see him; and he met me with a glad face, entreating me to regard him as a brother, and saying that he would never speak about that work again, since he recognised quite well that I was right.

Note 1. 'Aveva dato a guardia la lattuga ai paperi.'



XXXIV

IF I did not confess that in some of these episodes I acted wrongly, the world might think I was not telling the truth about those in which I say I acted rightly. Therefore I admit that it was a mistake to inflict so singular a vengeance upon Pagolo Micceri. In truth, had I believed him to be so utterly feeble, I should not have conceived the notion of branding him with such infamy as I am going to relate.

Not satisfied with having made him take a vicious drab to wife, I completed my revenge by inviting her to sit to me as a model, and dealing with her thus. I gave her thirty sous a day, paid in advance, and a good meal, and obliged her to pose before me naked. Then I made her serve my pleasure, out of spite against her husband, jeering at them both the while. Furthermore, I kept her for hours together in position, greatly to her discomfort. This gave her as much annoyance as it gave me pleasure; for she was beautifully made, and brought me much credit as a model. At last, noticing that I did not treat her with the same consideration as before her marriage, she began to grumble and talk big in her French way about her husband, who was now serving the Prior of Capua, a brother of Piero Strozzi. [1] On the first occasion when she did this, the mere mention of the fellow aroused me to intolerable fury; still I bore it, greatly against the grain, as well as I was able, reflecting that I could hardly find so suitable a subject for my art as she was. So I reasoned thus in my own mind: "I am now taking two different kinds of revenge. In the first place, she is married; and what I am doing to her husband is something far more serious than what he did to me, when she was only a girl of loose life. If then I wreak my spite so fully upon him, while upon her I inflict the discomfort of posing in such strange attitudes for such a length of time—which, beside the pleasure I derive, brings me both profit and credit through my art—what more can I desire?" While I was turning over these calculations, the wretch redoubled her insulting speeches, always prating big about her husband, till she goaded me beyond the bounds of reason. Yielding myself up to blind rage, I seized her by the hair, and dragged her up and down my room, beating and kicking her till I was tired. There was no one who could come to her assistance. When I had well pounded her she swore that she would never visit me again. Then for the first time I perceived that I had acted very wrongly; for I was losing a grand model, who brought me honour through my art. Moreover, when I saw her body all torn and bruised and swollen, I reflected that, even if I persuaded her to return, I should have to put her under medical treatment for at least a fortnight before I could make use of her.

Note 1. Leone, son of Filippo Strozzi, Knight of Jerusalem and Prior of Capua, was, like his brother Piero, a distinguished French general.



XXXV

WELL, to return to Caterina. I sent my old serving-woman, named Ruberta, who had a most kindly disposition, to help her dress. She brought food and drink to the miserable baggage; and after rubbing a little bacon fat into her worst wounds, they ate what was left of the meat together. When she had finished dressing, she went off blaspheming and cursing all Italians in the King's service, and so returned with tears and murmurs to her home.

Assuredly, upon that first occasion, I felt I had done very wrong, and Ruberta rebuked me after this fashion: "You are a cruel monster to maltreat such a handsome girl so brutally." When I excused my conduct by narrating all the tricks which she and her mother had played off upon me under my own roof, Ruberta scoldingly replied that 'that' was nothing—that was only French manners, and she was sure there was not a husband in France without his horns. When I heard this argument, I laughed aloud, and then told Ruberta to go and see how Caterina was, since I should like to employ her again while finishing the work I had on hand. The old woman took me sharply up, saying that I had no 'savoir vivre:' "Only wait till daybreak, and she will come of herself; whereas, if you send to ask after her or visit her, she will give herself airs and keep away."

On the following morning Caterina came to our door, and knocked so violently, that, being below, I ran to see whether it was a madman or some member of the household. When I opened, the creature laughed and fell upon my neck, embracing and kissing me, and asked me if I was still angry with her. I said, "No!" Then she added: "Let me have something good to break my fast on." So I supplied her well with food, and partook of it at the same table in sign of reconciliation. Afterwards I began to model from her, during which occurred some amorous diversions; and at last, just at the same hour as on the previous day, she irritated me to such a pitch that I gave her the same drubbing. So we went on several days, repeating the old round like clockwork. There was little or no variation in the incidents.

Meanwhile, I completed my work in a style which did me the greatest credit. Next I set about to cast it in bronze. This entailed some difficulties, to relate which would be interesting from the point of view of art; but since the whole history would occupy too much space, I must omit it. Suffice it to say, that the figure came out splendidly, and was as fine a specimen of foundry as had ever been seen. 1

Note 1. This figure was undoubtedly the Nymph of Fontainebleau.



XXXVI

WHILE this work was going forward, I set aside certain hours of the day for the salt-cellar, and certain others for the Jupiter. There were more men engaged upon the former than I had at my disposal for the latter, so the salt-cellar was by this time completely finished. The King had now returned to Paris; and when I paid him my respects, I took the piece with me. As I have already related, it was oval in form, standing about two-thirds of a cubit, wrought of solid gold, and worked entirely with the chisel. While speaking of the model, I said before how I had represented Sea and Earth, seated, with their legs interlaced, as we observe in the case of firths and promontories; this attitude was therefore metaphorically appropriate. The Sea carried a trident in his right hand, and in his left I put a ship of delicate workmanship to hold the salt. Below him were his four sea-horses, fashioned like our horses from the head to the front hoofs; all the rest of their body, from the middle backwards, resembled a fish, and the tails of these creatures were agreeably inter-woven. Above this group the Sea sat throned in an attitude of pride and dignity; around him were many kinds of fishes and other creatures of the ocean. The water was represented with its waves, and enamelled in the appropriate colour. I had portrayed Earth under the form of a very handsome woman, holding her horn of plenty, entirely nude like the male figure; in her left hand I placed a little temple of Ionic architecture, most delicately wrought, which was meant to contain the pepper. Beneath her were the handsomest living creatures which the earth produces; and the rocks were partly enamelled, partly left in gold. The whole piece reposed upon a base of ebony, properly proportioned, but with a projecting cornice, upon which I introduced four golden figures in rather more than half-relief. They represented Night, Day, Twilight, and Dawn. I put, moreover, into the same frieze four other figures, similar in size, and intended for the four chief winds; these were executed, and in part enamelled, with the most exquisite refinement. 1

When I exhibited this piece to his Majesty, he uttered a loud outcry of astonishment, and could not satiate his eyes with gazing at it. Then he bade me take it back to my house, saying he would tell me at the proper time what I should have to do with it. So I carried it home, and sent at once to invite several of my best friends; we dined gaily together, placing the salt-cellar in the middle of the table, and thus we were the first to use it. After this, I went on working at my Jupiter in silver, and also at the great vase I have already described, which was richly decorated with a variety of ornaments and figures.

Note 1. This salt-cellar is now at Vienna. It is beautifully represented by two photogravures in Plon's great book on Cellini.



XXXVII

AT that time Bologna, the painter, suggested to the King that it would be well if his Majesty sent him to Rome, with letters of recommendation, to the end that he might cast the foremost masterpieces of antiquity, namely, the Laocoon, the Cleopatra, the Venus, the Commodus, the Zingara, and the Apollo. [1] These, of a truth, are by far the finest things in Rome. He told the King that when his Majesty had once set eyes upon those marvellous works, he would then, and not till then, be able to criticise the arts of design, since everything which he had seen by us moderns was far removed from the perfection of the ancients. The King accepted his proposal, and gave him the introductions he required. Accordingly that beast went off, and took his bad luck with him. Not having the force and courage to contend with his own hands against me, he adopted the truly Lombard device of depreciating my performances by becoming a copyist of antiques. In its own proper place I shall relate how, though he had these statues excellently cast, he obtained a result quite contrary to his imagination.

I had now done for ever with that disreputable Caterina, and the unfortunate young man, her husband, had decamped from Paris. Wanting then to finish off my Fontainebleau, which was already cast in bronze, as well as to execute the two Victories which were going to fill the angles above the lunette of the door, I engaged a poor girl of the age of about fifteen. She was beautifully made and of a brunette complexion. Being somewhat savage in her ways and spare of speech, quick in movement, with a look of sullenness about her eyes, I nicknamed her Scorzone; [2] her real name was Jeanne. With her for model, I gave perfect finish to the bronze Fontainebleau, and also to the two Victories.

Now this girl was a clean maid, and I got her with child. She gave birth to a daughter on the 7th of June, at thirteen hours of the day, in 1544, when I had exactly reached the age of forty-four. I named the infant Costanza; and Mr. Guido Guidi, the King's physician, and my most intimate friend, as I have previously related, held her at the font. He was the only godfather; for it is customary in France to have but one godfather and two godmothers. One of the latter was Madame Maddalena, wife to M. Luigi Alamanni, a gentleman of Florence and an accomplished poet. The other was the wife of M. Ricciardo del Bene, our Florentine burgher, and a great merchant in Paris; she was herself a French lady of distinguished family. This was the first child I ever had, so far as I remember. I settled money enough upon the girl for dowry to satisfy an aunt of hers, under whose tutelage I placed her, and from that time forwards I had nothing more to do with her.

Note 1. The Cleopatra is that recumbent statue of a sleeping Ariadne or Bacchante now in the Vatican. The Venus (neither the Medicean nor the Capitoline) represents the goddess issuing from the bath; it is now in the Museo Pio Clementino of the Vatican. The Commodus is a statue of Hercules, with the lion's skin and an infant in his arms, also in the Vatican. The Zingara may be a statue of Diana forming part of the Borghese collection. The Apollo is the famous Belvedere Apollo of the Vatican.

Note 2. That is, in Italian, "the rough rind," a name given to rustics. 'Scorzone' is also the name for a little black venomous serpent.



XXXVIII

BY labouring incessantly I had now got my various works well forward; the Jupiter was nearly finished, and the vase also; the door began to reveal its beauties. At that time the King came to Paris; and though I gave the right date of the year 1544 for my daughter's birth, we were still in 1543; but an opportunity of mentioning my daughter having arisen, I availed myself of it, so as not to interrupt the narrative of more important things. Well, the King, as I have said, came to Paris, and paid me a visit soon after his arrival. The magnificent show of works brought well-nigh to completion was enough to satisfy anybody's eye; and indeed it gave that glorious monarch no less contentment than the artist who had worked so hard upon them desired. While inspecting these things, it came into his head that the Cardinal of Ferrara had fulfilled none of his promises to me, either as regarded a pension or anything else. Whispering with his Admiral, he said that the Cardinal of Ferrara had behaved very badly in the matter; and that he intended to make it up to me himself, because he saw I was a man of few words, who in the twinkling of an eye might decamp without complaining or asking leave.

On returning home, his Majesty, after dinner, told the Cardinal to give orders to his treasurer of the Exchequer that he should pay me at an early date seven thousand crowns of gold, in three or four instalments, according to his own convenience, provided only that he executed the commission faithfully. At the same time he repeated words to this effect: "I gave Benvenuto into your charge, and you have forgotten all about him." The Cardinal said that he would punctually perform his Majesty's commands; but his own bad nature made him wait till the King's fit of generosity was over. Meanwhile wars and rumours of wars were on the increase; it was the moment when the Emperor with a huge army was marching upon Paris. [1] Seeing the realm of France to be in great need of money, the Cardinal one day began to talk of me, and said: "Sacred Majesty, acting for the best, I have not had that money given to Benvenuto. First, it is sorely wanted now for public uses. Secondly, so great a donation would have exposed you to the risk of losing Benvenuto altogether; for if he found himself a rich man, he might have invested his money in Italy, and the moment some caprice took of him, he would have decamped without hesitation. I therefore consider that your Majesty's best course will be to present him with something in your kingdom, if you want to keep him in your service for any length of time." The King, being really in want of money, approved of these arguments; nevertheless, like the noble soul he was, and truly worthy of his royal station, he judged rightly that the Cardinal had acted thus in order to curry favour rather than from any clear prevision of distressed finances in so vast a realm.