DOI Page / Citation link:
https://doi.org/10.11588/diglit.32874#0581
WORKS BY BENVENUTO CELLINI 495
SUBJECT.
SOURCE OF DATE OF PLACE OF REMARKS.
RECORD. RECORD. ORIGIN.
A steel mirror . . Ia. 1538 Rome
A poniard .... Ia. 1538 ,, With a
handle of
lapis-lazuli
set in gold.
r
A dagger and a
light-cavalry-
mace ....
of
the Car-
dinal of
Ferrara. ^
1540
Paris October 10.
These last items seem to have been articles of gold-
smith's work rather than of armour. A great variety of
pieces of armour have been from time to time assigned
to Cellini, but none seem really to justify the attribu-
tion, being apparently the product of Milanese armour
foundries, or of those of Munich, Augsburg, or Nuremberg,
where Italian influences are known to have prevailed at
this period.
DRAWINGS
It is self-evident that Benvenuto Cellini must have
made designs and preparatory sketches for most of his
works, and we know that his contemporaries spoke of
him as an artist who had 221? 22 27/ 2^
<Aw^272^*.r <?/* in carrying out his commissions.
Moreover in his own he speaks of a
drawing made in competition with a certain Tobias for
the mounting of an unicorn's horn. We read also in the
same work of drawings for vases to be executed for the
Grand Duke Cosimo, for Don Francesco de' Medici, for
the Cardinal of Ravenna and for the banker Pietro
SUBJECT.
SOURCE OF DATE OF PLACE OF REMARKS.
RECORD. RECORD. ORIGIN.
A steel mirror . . Ia. 1538 Rome
A poniard .... Ia. 1538 ,, With a
handle of
lapis-lazuli
set in gold.
r
A dagger and a
light-cavalry-
mace ....
of
the Car-
dinal of
Ferrara. ^
1540
Paris October 10.
These last items seem to have been articles of gold-
smith's work rather than of armour. A great variety of
pieces of armour have been from time to time assigned
to Cellini, but none seem really to justify the attribu-
tion, being apparently the product of Milanese armour
foundries, or of those of Munich, Augsburg, or Nuremberg,
where Italian influences are known to have prevailed at
this period.
DRAWINGS
It is self-evident that Benvenuto Cellini must have
made designs and preparatory sketches for most of his
works, and we know that his contemporaries spoke of
him as an artist who had 221? 22 27/ 2^
<Aw^272^*.r <?/* in carrying out his commissions.
Moreover in his own he speaks of a
drawing made in competition with a certain Tobias for
the mounting of an unicorn's horn. We read also in the
same work of drawings for vases to be executed for the
Grand Duke Cosimo, for Don Francesco de' Medici, for
the Cardinal of Ravenna and for the banker Pietro