SCULPTURE. 53 
individualities, and yet they display the profoundest knowledge of the human 
body and of the human soul. The attitudes depicted by him seem often 
rather violent; still they are never untrue to nature, but are in accordance 
with powerful emotion. Of his plastic works we will mention only the 
David in front of the old palace in Florence ; a Pzeta, a marble group in the 
church of St. Peter at Rome; and an intoxicated Bacchus accompanied by 
a Satyr (pl. 7, jig. 18), a marble group 10 palms high, and one of his first 
performances. It was intended for Giacomo Galli of Florence, but was 
placed by Cardinal Ferdinand de’ Medici in the Florence gallery, where it 
still remains. Michael Angelo also designed the monument of Pope 
Julius II., which was erected in the basilica of San Pietro in Vincoli, but 
spoilt in the execution. Its chief ornament is the statue of Moses (jig. 19), 
which was to have stood with several other statues (of prophets and virtues) 
on the cornice. This colossal figure is now placed at the foot of the 
monument, and is certainly one of the master’s finest works. About the 
upper part of the tomb stand a sort of persians, representing fettered 
slaves, one of which we have copied (pl. 8, jig. 2). Another monument 
executed by Michael Angelo was that of the Medici in the church of San 
Lorenzo of Florence, which is famed for its statues of the Medicean family, 
and for those of the seasons and of the different periods of the day. Of the 
latter we have given the Morning and Hvening (pl. 7, fig. 20), which 
will justify our assertion that among modern sculptors there is scarcely 
one that can be compared with Michael Angelo. M. Angelo died at Rome 
in 1564. 
A short time after Michael Angelo, Benvenuto Cellini assumed a high 
rank among sculptors and casters of statuary. He was born in Florence 
in 1500; and having at an early age manifested an inclination for the 
plastic art, he was apprenticed to a goldsmith named Andrea Sandro, and 
when scarcely fifteen years of age he surpassed the best of his companions. 
His works soon attracted attention ; and a lily composed of diamonds set in 
gold for Porzia Chigi introduced him to the notice of several dignitaries of 
the church, for whom he then wrought a good deal. When Rome was 
beleaguered in 1527, Cellini served as bombardier in the castle of St. 
Angelo, where he shot down the Duke of Bourbon whe had captured the 
city, and wounded the Prince of Orange. He was appointed master of the 
mint to the pope; but manifold persecutions caused him at last to enter 
the service of Duke Alexander in Florence, for whom he engraved many 
medals and dies. He was once more called to Rome; but being again 
attacked, after executing several splendid vases, he went in 1537 to the 
court of Francis I. of France. He returned to Rome, however, in 1540, 
where he was thrown into prison under a false accusation; but he was 
liberated by Cardinal Ferrara, for whom he executed many important 
works. Being again summoned to France, he there set up a complete 
workshop, having attracted to his employ many German workmen, whose 
industry and skill he highly praised. To this period belong his finest works, 
of which many still exist, ¢. g. in the Ambrase collection in Vienna, in 
Dresden, and in other places. Here too he executed several works in 
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