CKLIJ-: 



CELLULAR PLANTS 



53 



or tin- chemistry of the various parts, mark the 

 limii and high-water mark of oellafar biology. 



I'l-iti-ticnl Study. To gain a preliminary acquaint- 

 ance with the cell, tin- -t mlmi should examine with 

 a good microscope ( 1 ) Free cells as seen in unicel- 

 lular plants, such as yeast, green mould, simple 

 aL'.e, or in pollen grains, &c. ; in unicellular 

 animals like Amoeba, Paramcecium, Vorticella; in 

 tin- dements of the blood ; in the ova of animals, as 

 foiinil in spawn of frog, &c. (2) Simple vegetable 

 tis>iu>8 as seen in root-hairs, transparent leave-,, 

 epidermis of plants, and common fresh-water algfe 

 like S/iinxjyra ; simple animal tissues readily ob- 

 tained from frog, earthworm, Hydra, and the like. 

 For research in details of structures, staining and 

 section-cutting must be resorted to. 



Literature. (1) For history, see BIOLOGY, BOTANY, 

 KMUKYOLOGY, PHYSIOLOGY, PROTOPLASM ; M'Kendrick, 

 On the Modern Cell-theory (1888); Drysdale, Proto- 

 plasmic Theory of Life (1874). 



(2) For structure of cell and process of division, con- 

 sult Hrst modern text-books of histology, such as those of 

 Brass, Fol, Frey, Klein (English), Leydig, Ranvier, 

 and Stohr. For recent researches, see Journal of lioyal 

 Microscopical Society. As one research is rapidly super- 

 seding another, detailed references need not be given. 

 For general bibliography, see Professor M'Kendrick's paper 

 ( above ) ; for nucleus, Van Bambeke, Etat actuel de nos 

 Connaisanca sur la Structure du Noyau (Gand, 1885); 

 for cell-division, Waldeyer, ' Uber Karyokinese,' Archiv. 

 f. Anat. u. Physiol. (1887) ; for the vegetable cell in par- 

 ticular, Zimmerinann, ' Die Morphologic und Physiologic 

 der Pflanzenzelle,' Schenck's Handburh d. Botanik(ll$87). 

 See also Professor Carney's cell journal, La Cellule. The 

 Memoirs, which will always be classic in the history of 

 cell -lore, both in themselves and on account of the 

 stimulus which they supplied, will be found in the follow- 

 ing and those to which they chiefly refer : Van Beneden, 

 Recherches sur la Maturation de I'CEuf, fcc. (1883); 

 Flemming, Zell-substanz, Kern und Zell-theilung ( 1882 ) ; 

 nd later papers in Archiv. f. mikr. Anatomic; From- 

 mann, Unters. uber Struktur, Lebenserscheinungen und 

 Reaktionen thierischer und pflanzliclier Zdlen (1884); 

 O. and R Hertwig, Beitraye zur Morphologic der Zellen 

 (1875-88); Leydig, ZeUe und Gewebe (1885), and pre- 

 vious works ; Strasburger, Zellbildun-/ und Zell-theilung 

 (Jena, 3d. ed. 1880). 



( 3 ) For general physiology, consult first Foster's Physi- 

 ology, chap, i., then general works on physiology of 

 plants and animals e.g. Sachs' Text-book of Botany and 

 Lu-tiires on the Physiology of Plants, also Vines' similar 

 work (1887), Hermann's Handbuch der Physiologic, &c. 

 Further, Herbert Spencer's Principles of Biology ; P. 

 Geddes, 'Restatement of the Cell-theory,' Proc. Roy. Soc. 

 E'lnt. (1883); M. Foster's article ' Physiology,' Encyclo- 

 pedia Britannica ; Berthold, Studien uber Protoplasma- 

 mechanik (Leip. 1886); Schwarz, Die Morphologische 

 und chemische Zusammensetzung des Protoplasmas ( Bres- 

 lau, 1887 ) ; and the article PROTOPLASM. 



Celle. See ZELL. 



Cellini, BENVENUTO, a celebrated Italian gold- 

 smith, sculptor, and engraver, and the author of 

 one of the most interesting autobiographies ever 

 written, was born in 1500 in Florence, a city which 

 he was forced to quit in early life through" having 

 taken pnrt in 'an affray.' He then travelled to 

 Koine, where his skill as an artist in metal-work 

 gained him the favour of the highest nobles and 



E relates. So anxious were his patrons to secure 

 is services that they allowed him the utmost 

 license of conduct. By his own account he was as 

 expert with sword and dagger as with his gold- 

 smith's tools, and he had apparently no scruple in 

 murdering or maiming any who endeavoured to 

 thwart him. He states that at the siege of Rome 

 in 1.127 it was he who killed the Constable Bourbon, 

 and that he afterwards shot down the Prince of 

 Orange before the castle of St Angelo. He stood 

 for a time high in favour with Pope Clement VII., 

 but was eventually flung into prison for the murder 

 of a rival goldsmith. In 1534 he was pardoned 



and set free by Paul III., who wished him to 

 engrave dies in the mint ; soon afterwards, having 

 spoken contemptuously of the pope's artistic taste*, 

 he was cast into an oubliette of the castle of St 

 Angelo. He escaped through his knowledge of the 

 castle's vaults, but was immediately recaptured, 

 and was only saved from the pope's vengeance by 

 the intercession of Cardinal d'Este. For KOIIH; years 

 he lived alternately in Rome and Finn-nee, Mantua 

 and Naples. In 1537 he went to the court of Francis 

 I. of France, by whom he was honourably received, 

 and for whom he executed a golden spice-box, the 

 design of which, he tells us, was so exquisite that 

 the king ' uttered a loud outcry of astonishment on 

 seeing it,' and ' could not satiate his eyes with 

 gazing on it.' In Paris he became involved in a 

 lawsuit. Having lost his case, he had recourse, as 

 usual, to his dagger. ' I attacked,' he says, ' the 

 plaintiff who had sued me, and one evening I 

 wounded him in the legs and arms so severely 

 (taking care, however, not to kill him) that I 

 deprived him of the use of both his legs. ' This act 

 went unpunished. Having given offence, however, 

 to the reigning favourite at the French court, 

 Cellini returned to Florence, where he worked 

 under the patronage of Cosmo de' Medici, and 

 where he executed his most successful piece of 

 sculpture, the famous bronze ' Perseus with the 

 heaa of Medusa' of the Loggia de' Lanzi. He 

 began to write his autobiography in 1558, and died 

 at Florence in 1571. 



Cellini was a man of versatile fancy, passion- 

 ately devoted to his art, and his technical skill was 

 supreme. But his designs were often feeble and 

 tasteless, and he seems to have had no sound know- 

 ledge of human anatomy. He has, on the whole, 

 been somewhat overrated as an artist, and has been 

 credited with the production of many beautiful 

 cups and vases ( sucn as the ' Cellini vase ' in the 

 British Museum) which were really the work of 

 German silversmiths in the 16th century. But he 

 has not been, and could not easily be, overrated as 

 an author. His autobiography is a work of extra- 

 ordinary interest. 'From the pages of this book,' 

 says Mr Symonds, ' the Genius of the Renaissance, 

 incarnate in a single personality, leans forth and 

 speaks to us.' Though he had not the faculty 

 of self-criticism, Cellini was a shrewd judge of 

 others, and had a remarkable talent for portraying 

 character. His book gives a faithful and a wonder- 

 fully vivid picture of Italian society in the 16th 

 century. The animation of the narrative and the 

 racy vigour of the style could hardly le surpassed. 

 The keen insight and unblushing frankness of the 

 writer make his work as fascinating to the student 

 of human character as it is invaluable to the 

 historian of the Renaissance. Cellini reveals all 

 the evil and all the strength of his nature, his 

 vindictiveness, braggartism, and self-worship, no 

 less than his fiery energy and powerful intellect, 

 his splendid self-reliance and passionate love of art. 

 He is the most oandid of autooiographers, and he is 

 as ignorant of shame as he is candid. There is an 

 admirable translation of this work by J. A. Symonds 

 (1887; 4th ed. 1896). Goethe translated it into 

 German. See the monograph by K. Plon (1882). 



Cellular Plants. It was formerly attempted 

 by De Candolle and others to unite all the lowest 

 plants destitute of vascular tissue under the general 

 title Cellulares, as opposed to the Vasculares, in- 

 cluding all the higher plants. Although this classi- 

 fication is long disused, the term 'cellular plants' 

 is often familiarly employed to distinguish the 

 Fungi, Algae, Lichens, Characefe, Liverworts, and 

 Mosses (q.v.) from the higher or vascular crypto- 

 gams Ferns, Horsetails, Lycopodiaceie and Sela- 

 ginelleje, and Isoetete. See the articles in this 

 work on most of these groups ; for cellular tissue, 



