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A review by crow_toes
The Autobiography of Benvenuto Cellini by Benvenuto Cellini
A fascinating insight into the mind of an artist in Renaissance Italy. I’m definitely taking the accuracy of the account with a hefty dose of salt - it seems many of the anecdotes serve to bolster his reputation and fame for posterity, but nevertheless it provides much insight into what a man of the 1500s would deem valuable to be remembered for. Connections to major names of the day from popes to Medicis to Michelangelo, recommendations of his quality across many arts, witty advertisement of his skills and speeches to his patrons, feats of arms, presence at historic events, and making his image as a singular talent all feature through his life’s story.
Cellini does seem to particularly flourish on tearing others down to bolster the view of his own work, and perhaps on finding ways to make himself enemies. It feeds into a world he presents with every nobleman and artist seeking the best for themselves - the most money and possessions gained for promises, constant deferral of payments and pushing back of timelines, perpetual questioning of reputation and backstabbing. As this resulted in his repeated imprisonment and even more fears of arrest, this strategy of pushing upwards by driving other artists, courtiers, and even patrons down was clearly one with mixed results.
I found the particular translation I picked up - translated by John Addington, read by Simon Vance - overall satisfying. The language chosen fit well with the mood and ego behind the writing. The writing itself is largely readable and enjoyable once the accustomed to the self-aggrandizing and embellishment, though it does suddenly jump between episodes. This is an element I’m fairly familiar with from other medieval and Renaissance works (such as various works on chivalry, e.g. Lull, and the Book of Margery Kemp), but is still jarring compared to modern biographies to the 21st century reader.
Cellini does seem to particularly flourish on tearing others down to bolster the view of his own work, and perhaps on finding ways to make himself enemies. It feeds into a world he presents with every nobleman and artist seeking the best for themselves - the most money and possessions gained for promises, constant deferral of payments and pushing back of timelines, perpetual questioning of reputation and backstabbing. As this resulted in his repeated imprisonment and even more fears of arrest, this strategy of pushing upwards by driving other artists, courtiers, and even patrons down was clearly one with mixed results.
I found the particular translation I picked up - translated by John Addington, read by Simon Vance - overall satisfying. The language chosen fit well with the mood and ego behind the writing. The writing itself is largely readable and enjoyable once the accustomed to the self-aggrandizing and embellishment, though it does suddenly jump between episodes. This is an element I’m fairly familiar with from other medieval and Renaissance works (such as various works on chivalry, e.g. Lull, and the Book of Margery Kemp), but is still jarring compared to modern biographies to the 21st century reader.