ABOUT this time the great block of marble arrived which was intended for
the Neptune. It had been brought up the Arno, and then by the Grieve [1]
to the road at Poggio a Caiano, in order to be carried to Florence by
that level way; and there I went to see it. Now I knew very well that
the Duchess by her special influence had managed to have it given to
Bandinello. No envy prompted me to dispute his claims, but rather pity
for that poor unfortunate piece of marble. Observe, by the way, that
everything, whatever it may be, which is subject to an evil destiny,
although one tries to save it from some manifest evil, falls at once
into far worse plight; as happened to this marble when it came into the
hands of Bartolommeo Ammanato, [2] of whom I shall speak the truth in
its proper place. After inspecting this most splendid block, I measured
it in every direction, and on returning to Florence, made several little
models suited to its proportions. Then I went to Poggio a Caiano, where
the Duke and Duchess were staying, with their son the Prince. I found
them all at table, the Duke and Duchess dining in a private apartment;
so I entered into conversation with the Prince. We had been speaking for
a long while, when the Duke, who was in a room adjacent, heard my voice,
and condescended very graciously to send for me. When I presented myself
before their Excellencies, the Duchess addressed me in a very pleasant
tone; and having thus opened the conversation, I gradually introduced
the subject of that noble block of marble I had seen. I then proceeded
to remark that their ancestors had brought the magnificent school of
Florence to such a pitch of excellence only by stimulating competition
among artists in their several branches. It was thus that the wonderful
cupola and the lovely doors of San Giovanni had been produced, together
with those multitudes of handsome edifices and statues which made a
crown of artistic glory for their city above anything the world had seen
since the days of the ancients. Upon this the Duchess, with some anger,
observed that she very well knew what I meant, and bade me never mention
that block of marble in her presence, since she did not like it. I
replied: “So, then, you do not like me to act as the attorney of your
Excellencies, and to do my utmost to ensure your being better served?
Reflect upon it, my lady; if your most illustrious Excellencies think
fit to open the model for a Neptune to competition, although you are
resolved to give it to Bandinello, this will urge Bandinello for his own
credit to display greater art and science than if he knew he had no
rivals. In this way, my princes, you will be far better served, and will
not discourage our school of artists; you will be able to perceive which
of us is eager to excel in the grand style of our noble calling, and
will show yourselves princes who enjoy and understand the fine arts.”
The Duchess, in a great rage, told me that I tired her patience out; she
wanted the marble for Bandinello, adding: “Ask the Duke; for his
Excellency also means Bandinello to have it.” When the Duchess had
spoken, the Duke, who had kept silence up to this time, said: “Twenty
years ago I had that fine block quarried especially for Bandinello, and
so I mean that Bandinello shall have it to do what he likes with it.” I
turned to the Duke and spoke as follows: “My lord, I entreat your most
illustrious Excellency to lend a patient hearing while I speak four
words in your service.” He told me to say all I wanted, and that he
would listen. Then I began: “You will remember, my lord, that the marble
which Bandinello used for his Hercules and Cacus was quarried for our
incomparable Michel Agnolo Buonarroti. He had made the model for a
Samson with four figures, which would have been the finest masterpiece
in the whole world; but your Bandinello got out of it only two figures,
both ill-executed and bungled in the worst manner; wherefore our school
still exclaims against the great wrong which was done to that
magnificent block. I believe that more than a thousand sonnets were put
up in abuse of that detestable performance; and I know that your most
illustrious Excellency remembers the fact very well. Therefore, my
powerful prince, seeing how the men to whose care that work was
entrusted, in their want of taste and wisdom, took Michel Agnolo’s
marble away from him, and gave it to Bandinello, who spoilt it in the
way the whole world knows, oh! will you suffer this far more splendid
block, although it belongs to Bandinello, to remain in the hands of that
man who cannot help mangling it, instead of giving it to some artist of
talent capable of doing it full justice? Arrange, my lord, that every
one who likes shall make a model; have them all exhibited to the school;
you then will hear what the school thinks; your own good judgment will
enable you to select the best; in this way, finally, you will not throw
away your money, nor discourage a band of artists the like of whom is
not to be found at present in the world, and who form the glory of your
most illustrious Excellency.”
The Duke listened with the utmost graciousness; then he rose from table,
and turning to me, said: “Go, my Benvenuto, make a model, and earn that
fine marble for yourself; for what you say is the truth, and I
acknowledge it.” The Duchess tossed her head defiantly, and muttered I
know not what angry sentences.
I made them a respectful bow and returned to Florence, burning with
eagerness to set hands upon my model.
Note 1. Instead of the Grieve, which is not a navigable stream, it
appears that Cellini ought to have written the Ombrone.
Note 2. This sculptor was born in 1511, and died in 1592. He worked
under Bandinelli and Sansovino.
C
WHEN the Duke came to Florence, he sought me at my house without giving
me previous notice. I showed him two little models of different design.
Though he praised them both, he said that one of them pleased him better
than the other; I was to finish the one he liked with care; and this
would be to my advantage. Now his Excellency had already seen
Bandinello’s designs, and those of other sculptors; but, as I was
informed by many of his courtiers who had heard him, he commended mine
far above the rest. Among other matters worthy of record and of great
weight upon this point, I will mention the following. The Cardinal of
Santa Fiore was on a visit to Florence, and the Duke took him to Poggio
a Caiano. Upon the road, noticing the marble as he passed, the Cardinal
praised it highly, inquiring of his Excellency for what sculptor he
intended it. The Duke replied at once: “For my friend Benvenuto, who has
made a splendid model with a view to it.” This was reported to me by men
whom I could trust.
Hearing what the Duke had said, I went to the Duchess, and took her some
small bits of goldsmith’s work, which greatly pleased her Excellency.
Then she asked what I was doing, and I replied: “My lady, I have taken
in hand for my pleasure one of the most laborious pieces which have ever
been produced. It is a Christ of the whitest marble set upon a cross of
the blackest, exactly of the same size as a tall man. She immediately
inquired what I meant to do with it. I answered: “You must know my lady,
that I would not sell it for two thousand golden ducats; it is of such
difficult execution that I think no man ever attempted the like before;
nor would I have undertaken it at the commission of any prince whatever,
for fear I might prove inadequate to the task. I bought the marbles with
my own money, and have kept a young man some two years as my assistant
in the work. What with the stone, the iron frame to hold it up, and the
wages, it has cost me above three hundred crowns. Consequently, I would
not sell it for two thousand. But if your Excellency deigns to grant me
a favour which is wholly blameless, I shall be delighted to make you a
present of it. All I ask is that your Excellency will not use your
influence either against or for the models which the Duke has ordered to
be made of the Neptune for that great block of marble.” She replied with
mighty indignation: “So then you value neither my help nor my
opposition?” “On the contrary, I value them highly, princess; or why am
I offering to give you what I value at two thousand ducats? But I have
such confidence in my laborious and well-trained studies, that I hope to
win the palm, even against the great Michel Agnolo Buonarroti, from whom
and from no one else I have learned all that I know. Indeed, I should be
much better pleased to enter into competition with him who knows so much
than with those others who know but little of their art. Contending with
my sublime master, I could gain laurels in plenty, whereas there are but
few to be reaped in a contest with these men.” After I had spoken, she
rose in a half-angry mood, and I returned to work with all the strength
I had upon my model.
When it was finished, the Duke came to see it, bringing with him two
ambassadors, one from the Duke of Ferrara, the other from the Signory of
Lucca. They were delighted, and the Duke said to those two gentlemen:
“Upon my word, Benvenuto deserves to have the marble.” Then they both
paid me the highest compliments, especially the envoy from Lucca, who
was a person of accomplishments and learning. [1] I had retired to some
distance in order that they might exchange opinions freely; but when I
heard that I was being complimented, I came up, turned to the Duke, and
said: “My lord, your most illustrious Excellency ought now to employ
another admirable device: decree that every one who likes shall make a
model in clay exactly of the same size as the marble has to be. In this
way you will be able to judge far better who deserves the commission;
and I may observe that if your Excellency does not give it to the
sculptor who deserves it, this will not wrong the man so much, but will
reflect great discredit upon yourself, since the loss and shame will
fall on you. On the other hand, if you award it to the one who has
deserved it, you will acquire great glory in the first place, and will
employ your treasure well, while artists will believe that you
appreciate and understand their business.” No sooner had I finished
speaking than the Duke shrugged his shoulders, and began to move away.
While they were taking leave the ambassador of Lucca said to the Duke:
“Prince, this Benvenuto of yours is a terrible man!” The Duke responded:
“He is much more terrible than you imagine, and well were it for him if
he were a little less terrible; then he would possess at the present
moment many things which he has not got.” These precise words were
reported to me by the envoy, by way of chiding and advising me to change
my conduct. I told him that I had the greatest wish to oblige my lord as
his affectionate and faithful servant, but that I did not understand the
arts of flattery. Several months after this date, Bandinello died; and
it was thought that, in addition to his intemperate habits of life, the
mortification of having probably to lose the marble contributed to his
decline.
Note 1. Probably Girolamo Lucchesini.