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    Art Work In Gold In Silver
    Art Work In Gold In Silver
    Art Work In Gold In Silver
    Ebook104 pages39 minutes

    Art Work In Gold In Silver

    By Henry B. Wheatley

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    About this ebook

    The chief aim of this series of handbooks of practical art is to bring to the notice of students and anatcuss of art, as well as all Iovers of the highest excellence in workmanship, numerous examples, both ancient and modern, of the application of beautiful design to articles of every-day use and to the various objects which are frequently employed for purposes of decoration. The Handbook will contain an historical record of the progress of the art of which it treats, from the earliest times tu the present, showing the distinctive characteristics of the respective periods and will be illustrated with about forty to sixty engravings, which will include representations of many of the most remarkable specinlens of industrial art that have been preserved to us, and which now adorn the national museums of Europe. In making thc selection, much care has been taken to include only those works that are noteworthy either for the elegance of their form or the beauty of their ornamentation although a few objects have been chosen for their historical interest, and for the purpose of showing the style of art prevalent at the time in which they were made.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateSep 6, 2016
    ISBN9781473351592
    Art Work In Gold In Silver

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      Book preview

      Art Work In Gold In Silver - Henry B. Wheatley

      THE RENAISSANCE OF ART

      IN THE SIXTEENTH CENTURY.

      WE have already alluded to that wide-spread movement which changed the artistic aspect of Europe; and we mentioned two or three of the distinguished men who preceded Cellini in carrying out the principles of the art of the Renaissance. We cannot therefore do better than commence the account of modern art with a few words respecting the most famous of the artists of the revival.

      Benvenuto Cellini was born at Florence in the year 1500. His father was an engineer and an artist in ivory, as well as one of the court musicians, and wished his son to become a professional flute-player. To this Benvenuto would not consent, and at the age of fifteen he apprenticed himself to Antonio di Sandro, surnamed Marcone, a famous goldsmith of his time. At sixteen he was banished for six months from his native city for fighting in the streets in defence of a younger brother. He visited Siena and Bologna, and then returned to Florence. One of the first works of which Cellini speaks in his memoirs,¹ is a silver clasp, upon which he had represented in low relief cupids and grotesque heads intermingled with foliage. At nineteen he went to Rome, where he devoted himself chiefly to the study of ancient examples of his art during two years, and then returned to Florence. In 1523 another quarrel obliged him to leave his home, and he took refuge in Rome, where he remained for several years. There he entered the service of Clement VII., and designed coins and medals for that pope.² His fame now spread far and wide, and Francis I. was anxious to obtain his services. In consequence he visited Paris in 1537, but he made no long stay. Three years afterwards he again visited France, and worked there till 1545, when he finally left that country on account of a quarrel with Madame d’Estampes, the king’s mistress. Cellini then returned to Italy and entered the service of Cosmo de Medici, with whom he remained until his death on February 15, 1570. Very few of his numerous works have come down to us: one of the most important of those that remain is the golden salt-cellar, made for Francis I., which is now in the Cabinet of Antiquities at Vienna. Besides his Memoirs, one of the most perfect pieces of autobiography everpenned, he wrote a treatise on his art, in which he describes the method of making jewellery, the engraving of coins, the art of damascening, by which designs in gold or silver are formed on iron, bronze, or other hard metal, and all the processes known in his day.

      (Fig. 42.) VASE DESIGNED BY BENVENUTO CELLINI.

      The highly elaborate jug represented in fig. 42 will give the reader a good idea of one class of Cellini’s work. It is over-ornamented and such as might have been expected from the character of the man. He was a blusterer with but little admiration for any work but his own. He had no compunction in melting down the fine productions of his predecessors; still he was a great artist and his influence was immense. The Pope absolved him from the sin of his many homicides on account of the work he had done in the service of the Church. An illustration of the magnificent sardonyx ewer, known as the Cellini Ewer, which formed part of the crown jewels of France before the

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