MEANWHILE Messer Alberto returned to reason, and provided me with all I
had demanded. My mind was made up to quit Ferrara without fail that very
day; but the Duke’s attentive chamberlain arranged with Messer Alberto
that I should get no horses then. I had loaded a mule with my baggage,
including the case which held the Cardinal’s jug and basin. Just then a
Ferrarese nobleman named Messer Alfonso de’ Trotti arrived. [1] He was
far advanced in years, and a person of excessive affectation; a great
dilettante of the arts, but one of those men who are very difficult to
satisfy, and who, if they chance to stumble on something which suits
their taste, exalt it so in their own fancy that they never expect to
see the like of it again. Well, this Messer Alonso arrived, and Messer
Alberto said to him: “I am sorry that you are come so late; the jug and
basin we are sending to the Cardinal in France have been already
packed.” He answered that it did not signify to him; and beckoning to
his servant, sent him home to fetch a jug in white Faenzo clay, the
workmanship of which was very exquisite. During the time the servant
took to go and return, Messer Alfonso said to Messer Alberto: “I will
tell you why I do not care any longer to look at vases; it is that I
once beheld a piece of silver, antique, of such beauty and such finish
that the human imagination cannot possibly conceive its rarity.
Therefore I would rather not inspect any objects of the kind, for fear
of spoiling the unique impression I retain of that. I must tell you that
a gentleman of great quality and accomplishments, who went to Rome upon
matters of business, had this antique vase shown to him in secret. By
adroitly using a large sum of money, he bribed the person in whose hands
it was, and brought it with him to these parts; but he keeps it
jealously from all eyes, in order that the Duke may not get wind of it,
fearing he should in some way be deprived of his treasure.” While
spinning out this lengthy yarn, Messer Alfonso did not look at me,
because we were not previously acquainted. But when that precious clay
model appeared, he displayed it with such airs of ostentation, pomp, and
mountebank ceremony, that, after inspecting it, I turned to Messer
Alberto and said: “I am indeed lucky to have had the privilege to see
it!” [2] Messer Alfonso, quite affronted, let some contemptuous words
escape him, and exclaimed: “Who are you, then, you who do not know what
you are saying?” I replied: “Listen for a moment, and afterwards judge
which of us knows best what he is saying.” Then turning to Messer
Alberto, who was a man of great gravity and talent, I began: “This is a
copy from a little silver goblet, of such and such weight, which I made
at such and such a time for that charlatan Maestro Jacopo, the surgeon
from Carpi. He came to Rome and spent six months there, during which he
bedaubed some scores of nobleman and unfortunate gentlefolk with his
dirty salves, extracting many thousands of ducats from their pockets. At
that time I made for him this vase and one of a different pattern. He
paid me very badly; and at the present moment in Rome all the miserable
people who used his ointment are crippled and in a deplorable state of
health. [3] It is indeed great glory for me that my works are held in
such repute among you wealthy lords; but I can assure you that during
these many years past I have been progressing in my art with all my
might, and I think that the vase I am taking with me into France is far
more worthy of cardinals and kings than that piece belonging to your
little quack doctor.”
After I had made this speech, Messer Alfonso seemed dying with desire to
see the jug and basin, but I refused to open the box. We remained some
while disputing the matter, when he said that he would go to the Duke
and get an order from his Excellency to have it shown him. Then Messer
Alberto Bendedio, in the high and mighty manner which belonged to him,
exclaimed: “Before you leave this room, Messer Alfonso, you shall see
it, without employing the Duke’s influence.” On hearing these words I
took my leave, and left Ascanio and Pagolo to show it. They told me
afterwards that he had spoken enthusiastically in my praise. After this
he wanted to become better acquainted with me; but I was wearying to
leave Ferrara and get away from all its folk. The only advantages I had
enjoyed there were the society of Cardinal Salviati and the Cardinal of
Ravenna, and the friendship of some ingenious musicians; [4] no one else
had been to me of any good: for the Ferrarese are a very avaricious
people, greedy of their neighbours’ money, however they may lay their
hands on it; they are all the same in this respect.
At the hour of twenty-two Fiaschino arrived, and gave me the diamond of
sixty crowns, of which I spoke above. He told me, with a hang-dog look
and a few brief words, that I might wear it for his Excellency’s sake. I
replied: “I will do so.” Then putting my foot in the stirrup in his
presence, I set off upon my travels without further leave-taking. The
man noted down my act and words, and reported them to the Duke, who was
highly incensed, and showed a strong inclination to make me retrace my
steps.
Note 1. This man was a member of a very noble Ferrarese family, and much
esteemed for his official talents.
Note 2. 'Pur beato che io l’ ho veduto!' Leclanché translates thus:
'“Par Dieu! il y a longtemps que je l’ ai vu!”' I think Cellini probably
meant to hint that he had seen it before.
Note 3. See above, book i., p. 51, for this story.
Note 4. Cardinal Giovanni Salviati was Archbishop of Ferrara; Cardinal
Benedetto Accolti, Archbishop of Ravenna, was then staying at Ferrara;
the court was famous for its excellent orchestra and theatrical display
of all kinds.