XIII(第1页/共2页)
The Autobiography of Benvenuto Cellini 作者：Benvenuto Cellini 投票推荐 加入书签 留言反馈
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XIII
NOW let us return to Piero Torrigiani, who, with my drawing in his hand, spoke as follows: “This Buonarroti and I used, when we were boys, to go into the Church of the Carmine, to learn drawing fr the chapel of Masaccio. It was Buonarroti's habit to banter all who were drawing there; and one day, among others, when he was annoying me, I got more angry than usual, and clenching my fist, gave him such a blow on the nose, that I felt bone and cartilage go down like biscuit beneath my knuckles; and this mark of mine he will carry with him to the grave.” These words begat in me such hatred of the man, since I was always gazing at the masterpieces of the divine Michel Agnolo, that although I felt a wish to go with him to England, I now could never bear the sight of him.
All the while I was at Florence, I studied the noble manner of Michel Agnolo, and fr this I have never deviated. About that time I contracted a close and familiar friendship with an amiable lad of my own age, who was also in the goldsmith's trade. He was called Francesco, son of Filippo, and grandson of Fra Lippo Lippi, that most excellent painter. 【1】Through intercourse together, such love grew up between us that, day or night, we never stayed apart. The house where he lived was still full of the fine studies which his father had made, bound up in several books of drawings by his hand, and taken fr the best antiquities of Re. The sight of these things filled me with passionate enthusiasm; and for two years or thereabouts we lived in intimacy. At that time I fashioned a silver bas-relief of the size of a little child's hand. It was intended for the clasp to a man's be< for they were then worn as large as that. I carved on it a knot of leaves in the antique style, with figures of children and other masks of great beauty. This piece I made in the workshop of one Francesco Salimbene; and on its being exhibited to the trade, the goldsmiths praised me as the best young craftsman of their art.
【1】Fra Filippo Lippi was a Carmelite monk, whose frescoes at Prato and Spoleta and oil-paintings in Florence and elsewhere are among the most genial works of the pre-Raphaelite Renaissance. Vasari narrates his love-adventures with Lucrezia Buti, and Robert Browning has drawn a clever portrait of him in his “Men and Wen.” His son, Filippo or Filippino, was also an able painter, se of whose best work survives in the Strozzi Chapel of S. Maria Novella at Florence, and in the Church of S. Maria Sopra Minerva at Re.
There was one Giovan Battista, surnamed Il Tasso, a wood-carver, precisely of my own age, who one day said to me that if I was willing to go to Re, he should be glad to join me. Now we had this conversation together immediately after dinner; and I being angry with my father for the same old reason of the music, said to Tasso: “You are a fellow of words, not deeds.” He answered: “I too have ce to anger with my mother; and if I had cash enough to take me to Re, I would not turn back to lock t
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XIII
NOW let us return to Piero Torrigiani, who, with my drawing in his hand, spoke as follows: “This Buonarroti and I used, when we were boys, to go into the Church of the Carmine, to learn drawing fr the chapel of Masaccio. It was Buonarroti's habit to banter all who were drawing there; and one day, among others, when he was annoying me, I got more angry than usual, and clenching my fist, gave him such a blow on the nose, that I felt bone and cartilage go down like biscuit beneath my knuckles; and this mark of mine he will carry with him to the grave.” These words begat in me such hatred of the man, since I was always gazing at the masterpieces of the divine Michel Agnolo, that although I felt a wish to go with him to England, I now could never bear the sight of him.
All the while I was at Florence, I studied the noble manner of Michel Agnolo, and fr this I have never deviated. About that time I contracted a close and familiar friendship with an amiable lad of my own age, who was also in the goldsmith's trade. He was called Francesco, son of Filippo, and grandson of Fra Lippo Lippi, that most excellent painter. 【1】Through intercourse together, such love grew up between us that, day or night, we never stayed apart. The house where he lived was still full of the fine studies which his father had made, bound up in several books of drawings by his hand, and taken fr the best antiquities of Re. The sight of these things filled me with passionate enthusiasm; and for two years or thereabouts we lived in intimacy. At that time I fashioned a silver bas-relief of the size of a little child's hand. It was intended for the clasp to a man's be< for they were then worn as large as that. I carved on it a knot of leaves in the antique style, with figures of children and other masks of great beauty. This piece I made in the workshop of one Francesco Salimbene; and on its being exhibited to the trade, the goldsmiths praised me as the best young craftsman of their art.
【1】Fra Filippo Lippi was a Carmelite monk, whose frescoes at Prato and Spoleta and oil-paintings in Florence and elsewhere are among the most genial works of the pre-Raphaelite Renaissance. Vasari narrates his love-adventures with Lucrezia Buti, and Robert Browning has drawn a clever portrait of him in his “Men and Wen.” His son, Filippo or Filippino, was also an able painter, se of whose best work survives in the Strozzi Chapel of S. Maria Novella at Florence, and in the Church of S. Maria Sopra Minerva at Re.
There was one Giovan Battista, surnamed Il Tasso, a wood-carver, precisely of my own age, who one day said to me that if I was willing to go to Re, he should be glad to join me. Now we had this conversation together immediately after dinner; and I being angry with my father for the same old reason of the music, said to Tasso: “You are a fellow of words, not deeds.” He answered: “I too have ce to anger with my mother; and if I had cash enough to take me to Re, I would not turn back to lock t
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