DOI Page / Citation link:
https://doi.org/10.11588/diglit.32873#0072
14 LIFE OF BENVENUTO CELLINI [BK. i
tender age, when little children are accustomed to take
pleasure in a whistle and such-like diversions, I had the
greatest dislike to it, and played and sang only to obey
him. My father in those days manufactured wonderful
organs with wooden pipes, well-tuned cymbals/ the best
and the most beautiful to be seen at that period: viols,
lutes, most beautiful and most excellent harps. He
was also an engineer, and laboured marvellously in the
construction of machinery, such as contrivances for
lowering bridges, building mills, and other kinds of
engines, and he was the first to excel in ivory carving/
taught me to sing and to compose : and since it seemed to my father
and to the master that I was very promising in that line, they pro-
phesied great things for me. I did this thing with the worst possible
will in the world. Willingly I only drew and made clay models and
things of that nature : and for this I had many conveniences, because
my father had been a most excellent draughtsman, and was a very
brilliant man in many and very fine arts. Furthermore in those
times the said man made," etc.
Francesco d'Agnolo di Piero Aiolli, or del? Aiolle—born 4th
March 1491 (1492 Common Style)—published some madrigals
that BALDINUCCI says were very beautiful. About 1530 he went to
France, where he lived in great honour and repute until his death.
Andrea del Sarto introduces his portrait into the scene of 71%<?
V AL AfagT, painted in one of the lunettes in the
cloister of the Church of the SS. Annunziata in Florence. Accord-
ing to VASARI, and after him BALDINUCCI, the head in profile
behind Sansovino represents this talented musician.
1 (AvzAAc, Ah " cymbal " : but it is possible, as Mr. J. ADDINGTON
SYMONDS translates the word, that CELLINI Tzzzzy have meant some
kind of "spinet" or "virginals," z'.c, "<% fAKrzrzwzAAc."
^ This is not strictly true, as CELLINI himself must have been well
aware. Andrea Pisano executed sculpture in gold and ivory, as we
learn from his epitaph published by VASARI. In the Cathedral at
Prato there is a charming little ivory urn or coffer adorned with
dancing which was till recently attributed to Donatello; and
tender age, when little children are accustomed to take
pleasure in a whistle and such-like diversions, I had the
greatest dislike to it, and played and sang only to obey
him. My father in those days manufactured wonderful
organs with wooden pipes, well-tuned cymbals/ the best
and the most beautiful to be seen at that period: viols,
lutes, most beautiful and most excellent harps. He
was also an engineer, and laboured marvellously in the
construction of machinery, such as contrivances for
lowering bridges, building mills, and other kinds of
engines, and he was the first to excel in ivory carving/
taught me to sing and to compose : and since it seemed to my father
and to the master that I was very promising in that line, they pro-
phesied great things for me. I did this thing with the worst possible
will in the world. Willingly I only drew and made clay models and
things of that nature : and for this I had many conveniences, because
my father had been a most excellent draughtsman, and was a very
brilliant man in many and very fine arts. Furthermore in those
times the said man made," etc.
Francesco d'Agnolo di Piero Aiolli, or del? Aiolle—born 4th
March 1491 (1492 Common Style)—published some madrigals
that BALDINUCCI says were very beautiful. About 1530 he went to
France, where he lived in great honour and repute until his death.
Andrea del Sarto introduces his portrait into the scene of 71%<?
V AL AfagT, painted in one of the lunettes in the
cloister of the Church of the SS. Annunziata in Florence. Accord-
ing to VASARI, and after him BALDINUCCI, the head in profile
behind Sansovino represents this talented musician.
1 (AvzAAc, Ah " cymbal " : but it is possible, as Mr. J. ADDINGTON
SYMONDS translates the word, that CELLINI Tzzzzy have meant some
kind of "spinet" or "virginals," z'.c, "<% fAKrzrzwzAAc."
^ This is not strictly true, as CELLINI himself must have been well
aware. Andrea Pisano executed sculpture in gold and ivory, as we
learn from his epitaph published by VASARI. In the Cathedral at
Prato there is a charming little ivory urn or coffer adorned with
dancing which was till recently attributed to Donatello; and