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Benvenuto Cellini / сторінка 4

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Benvenuto Cellini
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Реферат
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Українська
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поточна оцінка 5.0

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Here we read, not only of the strange and varied adventures of which we have presented a hasty sketch, but of the devout complacency with which Cellini could contemplate a satisfactorily achieved homicide; of the legion of devils which he and a conjuror evoked in the , after one of his not innumerous mistresses had been spirited away from him by her mother; of the marvellous halo of light which he found surrounding his head at dawn and twilight after his Roman imprisonment, and his supernatural visions and angelic protection during that adversity; and of his being poisoned on two separate occasions. If he is unmeasured in abusing some people, he is also unlimited in praising others. The autobiography has been translated into English by Thomas Roscoe, by , and by A. Macdonald. It has been considered and published as a classic, and commonly regarded as one of the most colourful autobiographies (certainly the most important autobiography from the Renaissance). Cellini also wrote treatises on the goldsmith's art, on sculpture, and on design (translated by C. R. Ashbee, 1899).
The life of Cellini also inspired the popular French author . Dumas, an author of numerous wrote , which was based on Cellini's life. The novel focuses on several years during Cellini's stay in France, working for Francis. The book is also centred around Ascanio, an apprentice of Cellini. The famous scheming, plot twists and intrigue that made Dumas famous feature in the novel, in this case involving, Cellini, the duchesse d'Etampes and other members of the court. Cellini is portrayed as a passionate and troubled man, plagued by the inconsistencies of life under the "patronage" of a false and somewhat cynical court.
In addition to the opera by Berlioz, Cellini was also the subject of a , The Firebrand of Florence, by and , which featured (Mrs. Weill) as one of the sculptor's royal conquests. The show, unfortunately, was not a hit, and only ran for a month on Broadway, although some of its songs are periodically revived. It marked the last major collaboration between Weill and Gershwin, whose collaboration was best known for the classic Lady in the Dark (1941).
References
This article incorporates text from the , a publication now in the .
Further reading
Lуpez Gajate, Juan. El Cristo Blanco de Cellini. San Lorenzo del Escorial: Escurialenses, 1995.
Pope-Hennessy, John Wyndham. Cellini. New York: Abbeville Press, 1985.
Parker, Derek: Cellini. London, Sutton, 2004.

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