Benvenuto Cellini - Florence, Italy - Statues of Historic Figures on Waymarking.com

THE STATUE
This statue of Benvenuto Cellini is one othe the 28 that decorate the columns of the Uffizi gallery. In it Benvenuto Cellini has a hat in his right hand and a cape in is left harm. He he his represented in real size and using period clothing.

"With rescript grand-ducal of 11 March 1842 established the Florentine Deputation to implement in the Loggia degli Uffizi statues in honor of various famous Tuscan, chaired by John Ginori, intended to carry out the project of 28 statues of the Florentine Vincenzo Batelli typesetter, who had had to give up for lack of means. The statues, depicting personalities of politics, art, science, literature, etc.., Made in the course of several years (the first 11 in 15 years) were donated to the Community on the occasion of the feast of the patron and placed in the niches designed by Vasari for architectural purposes. To raise the necessary funds resorted to various means: the statue of Nicola Pisano (made from rings) and those of Giotto (Dupré) and Galileo (Costoli) were donated by Lorena, sometimes the States carried out of his own pocket, as in If the Statue of Amerigo Vespucci, paid by Sir Henry Danty or, famous artists such as Lorenzo Bartolini, with "generous patriotism," were content to be paid as other lesser-known artisans, "postergando any special interest." In general, however, to raise funds, the Deputation was organizing "a stake in the round ', or a horse race with jockeys, and some raffles at the Uffizi and Piazza S. Maria Novella. In June 1848, the Deputation, giving the statue by Donatello Bardi, announced that within two years he would donate the other three, 'without doubt, however, the event of the seven statues that then fail to complete the decoration of these Uffizi, because their existence is now exclusively connected making and the outcome of the public raffles."
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Benvenuto Cellini
"The Italian goldsmith and sculptor Benvenuto Cellini (1500-1571) is considered the greatest goldsmith of the Italian Renaissance. He was also the author of the celebrated "Autobiography."

Given the immense pride that Benvenuto Cellini took in his talents, it is ironic that very few certain examples of his art as a sculptor exist today and that he is best known for his Autobiography. It is an extraordinary record of absorbing interest on many levels: a spirited and candid revelation of a complex character; a narrative of historical importance for its account of the working life of a 16th-century artist in his relations with his family, friends, enemies, and patrons; and a document of great interest for a description of the techniques of sculpture which has still not been fully investigated. Cellini stopped working on his Autobiography in 1558, and it was not published until 1728. It enchanted the poet Johann Wolfgang von Goethe, who wrote the first of countless translations; served as the basis for an opera by Hector Berlioz, Benvenuto Cellini (1837); and even stimulated the production of films for the 20th century centered on this colorful life that seems to fulfill every demand of the romantic conception of the artist.

However colorful the Cellini myth has become and however significant the response to this legend as an indication of the concept of the artist as romantic hero, the actual facts of Cellini's life remain at least as interesting as the stories. The son of an architect and musician, Benvenuto Cellini was born in Florence on Nov. 3, 1500. Trained as a goldsmith and early proficient in that craft, at 16 he had to leave Florence because of a street fight and spent some months in Siena. In 1519 he moved to Rome, the center of his activity for the next two decades, although his Roman years were frequently interrupted by journeys to Pisa, Bologna, Venice, Naples, and Florence, the city to which he always remained loyal.

In Rome, Cellini served popes Clement VII and Paul III, working chiefly on portrait medallions, coins, and jewels. By his own account Cellini was a notable fighter, and in the sack of Rome (1527) he fought against the imperial troops. An increasingly tense relationship with Paul III and a series of violent incidents led to Cellini's imprisonment in the Castel Sant'Angelo, from which he made a dramatic escape."
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