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Cellini Sculpture P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 Cellini and the Principles of Sculpture michael w. cole University of North Carolina, Chapel Hill P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Michael Wayne Cole 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United States of America Typefaces Bembo 11/13.5 pt. and Centaur System LATEX 2ε [TB] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data isbn 0 521 81321 2 hardback Publication of this book was in part made by possible by a grant from The Publications Committee, Department of Art and Archaeology, Princeton University. P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 Contents List of Illustrations page ix Acknowledgments xiii Color Plates introduction 1 one: Salt, Composition, and the Goldsmith’s Intelligence 15 two: Casting, Blood, and Bronze 43 three: The Ars Apollinea and the Mastery of Marble 79 four: The Design of Virtue 118 conclusion: Cellini’s Example 149 appendix: On the Authorship of the Bargello Marble Ganymede 161 Notes 168 Bibliography 221 Index 241 vii P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 List of Illustrations 1. Veronese, Wedding at Cana (detail). Paris, Louvre (photo: Reunion´ des Musees´ Nationaux/Art Resource). page 2 2. Michelangelo, Self-Portrait. Paris, Louvre (photo: Reunion´ des Musees´ Nationaux/Art Resource). 3 3. Benvenuto Cellini, Saltcellar (detail: Tempietto). Vienna, Kunsthis- torisches Museum. 5 4. Cellini, Drawings of Tombs, Florence, Biblioteca Riccardiana. 6 5. Cellini, Design for the Seal of the Accademia del Disegno (detail). London, British Museum. C The British Museum. 10 6. Cellini, Saltcellar. Vienna, Kunsthistorisches Museum. 17 7. Cellini, Saltcellar. 18 8. Cellini, Saltcellar (detail). 19 9. Cellini, Saltcellar (top view). 23 10. Cellini, Saltcellar (fighting horses). 24 11. Cellini, Nymph of Fontainebleau. Paris, Louvre (Photo: Reunion´ des Musees´ Nationaux/Art Resource). 24 12. Cellini, Saltcellar (detail: Dawn). 27 13. Cellini, Saltcellar (detail: Day). 28 14. Cellini, Saltcellar (detail: Dusk). 29 15. Cellini, Saltcellar (detail: Night). 30 16. Bartolommeo Ammannati, Neptune Fountain. Florence, Piazza della Signoria (photo: Scala/Art Resource). 41 17. Cellini, Perseus and Medusa. Florence, Piazza della Signoria (photo: Wolf-Dietrich Lohr).¨ 44 18. Cellini, Portrait of Duke Cosimo I. Florence, Museo Nazionale del Bargello (photo: Hirmer). 47 19. Cellini, Perseus (detail: Jupiter). Florence, Bargello (photo: author). 54 ix P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 List of Illustrations 20. Cellini, Perseus (detail: Danae¨ and Perseino). Florence, Bargello (photo: Kunsthistorisches Institut). 55 21. Cellini, Perseus (detail: Minerva). Florence, Bargello (photo: Kunsthistorisches Institut). 56 22. Cellini, Perseus (detail: Mercury). Florence, Bargello (photo: Kunsthistorisches Institut). 57 23. Cellini, Perseus and Medusa (detail: blood from the head of Medusa). Florence, Piazza della Signoria (photo: Wolf-Dietrich Lohr).¨ 59 24. Cellini, Perseus and Medusa (detail: blood from the body of Medusa). Florence, Piazza della Signoria (photo: Wolf-Dietrich Lohr).¨ 60 25. Cellini, Wax modello for Perseus and Medusa. Florence, Bargello (photo: Kunsthistorisches Institut). 61 26. Donatello, Judith and Holofernes. Florence, Palazzo Vecchio (photo: Alinari/Art Resource). 63 27. Donatello, Holofernes (detail: head of Holofernes). 64 28. Cellini, Perseus and Medusa (detail: head of Medusa). 65 29. Battista del Moro, Perseus Sacrificing to Jupiter. Vienna, Albertina. 69 30. Bronzino, Pygmalion and Galatea. Florence, Galleria degli Uffizi (photo: Scala/Art Resource). 70 31. Cellini, Perseus and Medusa (with Bandinelli’s Hercules). Florence, Piazza della Signoria (photo: Wolf-Dietrich Lohr).¨ 71 32. Cellini, Head of Medusa. London, Victoria and Albert Museum (photo: Art Resource). 72 33. Cellini, Head of Medusa. London, Victoria and Albert Museum. 73 34. Giorgio Vasari, Perseus Liberating Andromeda. Florence, Palazzo Vecchio (photo: Alinari/Art Resource). 76 35. Frontispiece from Michelangelo Sermartelli, Composizioni di diversi autori in lode del ritratto della sabina. New Haven, Beinecke Rare Book and Manuscript Library. 81 36. Cellini, Apollo and Hyacinth. Florence, Bargello (photo: Kunsthis- torisches Institut). 84 37. Cellini, Design for the Seal of the Accademia del Disegno. Munich, Staatliche Graphische Sammlung. 95 38. Cellini, Satyr. Washington, National Gallery of Art, Woodner Collection (photo C 2000 Board of Trustees, National Gallery of Art). 98 39. Baccio Bandinelli, Hercules and Cacus. Florence, Piazza della Signoria (photo: Alinari/Art Resource). 100 x P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 List of Illustrations 40. Baccio Bandinelli, Laocoon¨ . Florence, Uffizi (photo: Alinari/Art Resource). 103 41. Apollo Belvedere. Vatican (photo: Scala/Art Resource). 104 42. Michelangelo, David. Florence, Accademia (photo: Alinari/Art Resource). 105 43. Cellini, Crucifix. Real Monasterio de San Lorenzo de El Escorial (photo: Kunsthistorisches Institut). 107 44. Bandinelli, Dead Christ Held by Angel. Florence, Santa Croce (photo: Alinari/Art Resource). 109 45. Sandro Botticelli, Pallas and the Centaur. Florence, Uffizi (photo: Alinari/Art Resource). 110 46. Giambologna, Samson and a Philistine. London, Victoria and Albert Museum. 111 47. Michelangelo, Creation of Adam. Vatican, Sistene Chapel (photo: Alinari/Art Resource). 112 48. Pellegrino Tibaldi, Annunciation of the Conception of St. John the Baptist. Bologna, San Giacomo Maggiore (photo: Scala/Art Resource). 113 49. Cellini, Narcissus. Florence, Bargello (photo: Kunsthistorisches Institut). 115 50. Cellini, Cellini Family Coat of Arms. Florence, Biblioteca Nazionale. 116 51. Cellini, Design for the Seal of the Accademia del Disegno. Munich, Staatliche Graphische Sammlung. 122 52. Cellini, Design for the Seal of the Accademia del Disegno. London, British Museum. C The British Museum. 123 53. Cellini, Liberation of Andromeda. Florence, Bargello (photo: Biblioteca Hertziana, Rome). 128 54. Cellini, Liberation of Andromeda (detail: Perseus). 129 55. Cellini, Liberation of Andromeda (detail: Andromeda). 133 56. Michelangelo, Archers. The Royal Collection C 2001, Her Majesty Queen Elizabeth II. 136 57. Giambologna, Rape of a Sabine. Florence, Piazza della Signoria (photo: Wolf-Dietrich Lohr).¨ 139 58. Cellini, Liberation of Andromeda (detail: Furor). 142 59. Antonio Salamanca after Michelangelo, Viso di Furia. London, British Museum. C The British Museum. 143 60. Cellini, Verso of Portrait Medal of Clement VII: Peace and Furor. London, Victoria and Albert Museum. 144 61. Hubert Gerhard and Friedrich Sustris, Perseus. Munich, Resi- denz (photo: Foto Marburg/Art Resource). 150 xi P1: FHB CB422-Cole CB422-FM May 5, 2002 9:42 Char Count= 0 List of Illustrations 62. Giambologna, Medici Mercury. Florence, Bargello (photo: Alinari/Art Resource). 152 63. Giambologna, bronze cast after a study for Neptune Fountain. Bologna, Museo Civico (photo: Alinari/Art Resource). 153 64. Bernini, David. Rome, Galleria Borghese (photo: Alinari/Art Resource). 156 65. Leone Leoni, Charles V and Furor. Madrid, Prado. 158 66. Cellini and Willem de Tetrode, Ganymede. Florence, Bargello (photo: Kunsthistorisches Institut). 162 xii P1: MRM/SPH P2: MRM/SPH QC: MRM/UKS T1: MRM CB422-Cole cb422-Int May 3, 2002 11:51 Char Count= 0 Introduction Sculpture, writes the painter, is an art of noise, dirt, and sweat. In contrast to painting, the picture of the mind, sculpture is the product of the body; it is the active pathway into the visual arts, the alternative to the contemplative life. Sculpture is, as it was with the ancients, an art of the hand, a techne, and as such, it is the very antithesis to painterly pastimes like poetry or music. This argument, vividly articulated by Leonardo da Vinci in the Codex Urbinas, may well seem to encapsulate early modern painting’s image of itself.1 Thus, Rubens, coloring the canvas to recitations of Tacitus, reincar- nates Leonardo’s painter, “who sits at his easel at great ease, well-dressed, and wielding the lightest brush,” “accompanied by music or readers of varied and beautiful works.”2 Portraits of painters, meanwhile, make similar points; the activities of Sofonisba Anguissola, Paolo Veronese (Fig. 1), and Paul Bril are sublimated into music; images of Raphael and Titian go so far as to suppress reference to manual practice altogether. As for the difference of painting from sculpture this entails, Antonfrancesco Doni, for one, suggested that personi- fications of Painting and Sculpture should be clothed differently, because the work of painting is “most pleasant,” while that of sculpture is “bitter, hard, [and] exhausting.”3 The painter Federico Zuccaro, in a lecture on “The Defi-
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