of the highest value for students of Renaissance craftsmanship, at a time when the experience of centuries had been condensed in the practice and principles of a first-rate master. They rank, moreover, as excellent specimens of sound Italian style applied to the purpose of technical exposition.[1] In the next place, we possess the fragments of a discourse on Architecture, and a short defence of Sculpture against Painting, from which numerous details regarding the artist's works and theories can be derived.
Cellini, like every Florentine of many-sided genius, was also ambitious of making his mark as a poet. Some specimens of his compositions will be found translated in the following pages; and a collection has recently been formed of his scattered verses. As might be guessed, they are not the productions of a literary master; yet they confirm our opinion of his singularly keen and stringent personality. Having received no education in letters, Cellini never learned to write grammatically. His poetry suffers naturally more than his prose from awkward incoherences. He rhymed with difficulty; frequently tripped in rhythm and accent; and affected such far-fetched conceits and violent images that a large portion of his sonnets are unintelligible. Of these defects he was fully conscious, speaking with modest humour of his boschereccia Musa, or untutored rustic inspiration.[2]
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- ↑ We have good reason to suppose that they were re-written by a man of letters before going to press. Signor Milanesi believes that Gherardo Spini performed this office for the author. See his Trattati, &c., Florence, Le Monnier, 1857, p. xvii.
- ↑ 2 See Milanesi's edition of the Trattati, cited above.
