切利尼：金匠、雕塑家、作家
摘要
本威努托·切利尼(Benvenuto Cellini1500-1571),文艺复兴后期著名的金匠、雕塑家和作家。他的后世声名主要得自于他的《自传》,其中的奇闻逸事常吸引着人们的兴趣,以致使切利尼对艺术理论领域的贡献有待进一步讨论。事实上,切利尼是一位既创作出优秀作品又有理论建树的丰富完整的人。
文艺复兴是艺术家的地位获得巨大提升的时期,在这一过程中比较论功不可没,艺术家积极参与到这一讨论中以证明艺术是与诗歌一样高贵的自由学科。劳力是辩论的中心话题,但却以被谴责的对象出现。因此,金匠的手艺、雕塑家的劳力都未能获得应有的重视。但是,切利尼反其道而行之,为金匠手艺、雕塑家劳力做了充分的辩护,也因此为文艺复兴的艺术理论做了重要补充。
在提升自身地位这一愿望的驱使下,艺术家多以高贵优雅的形象出现,切利尼同样采用了这一形象,但他同时塑造了另一种其他艺术家不敢企求的粗俗形象。从而作为一个完整的人为文艺复兴添上了浓墨重彩的一笔。
Benvenuto Cellini(1500-1571), famous goldsmith, sculptor and writer of late Renaissance. His posthumous fame is largely dependent on his Vita. Scholars' interests mainly focus on the incidents of Vita, so his contribution to art theory needs more attention. In fact, Cellini is a whole man with both excellent artworks and art theory.
In Renaissance the status of artists was largely promoted. Paragone is important in this progress. It is a debate artists actively take part in to prove that art is as noble as poetry. Labor is the focus of the debate, but a despised one. So, the craftsman of goldsmiths and labor of sculptors was overlooked. But, Cellini's opinion is totally different. He defended the craftsman and labor, and make an important complement to Renaissance art theory.
Promoted by the desire to raise social status, Renaissance artists often appeared as noble and elegant. Cellini also adopted the image, but meanwhile created another vulgar one which other artists do not dare to use. So, as a whole man, Cellini left a colorful print in Renaissnace
文艺复兴是艺术家的地位获得巨大提升的时期,在这一过程中比较论功不可没,艺术家积极参与到这一讨论中以证明艺术是与诗歌一样高贵的自由学科。劳力是辩论的中心话题,但却以被谴责的对象出现。因此,金匠的手艺、雕塑家的劳力都未能获得应有的重视。但是,切利尼反其道而行之,为金匠手艺、雕塑家劳力做了充分的辩护,也因此为文艺复兴的艺术理论做了重要补充。
在提升自身地位这一愿望的驱使下,艺术家多以高贵优雅的形象出现,切利尼同样采用了这一形象,但他同时塑造了另一种其他艺术家不敢企求的粗俗形象。从而作为一个完整的人为文艺复兴添上了浓墨重彩的一笔。
Benvenuto Cellini(1500-1571), famous goldsmith, sculptor and writer of late Renaissance. His posthumous fame is largely dependent on his Vita. Scholars' interests mainly focus on the incidents of Vita, so his contribution to art theory needs more attention. In fact, Cellini is a whole man with both excellent artworks and art theory.
In Renaissance the status of artists was largely promoted. Paragone is important in this progress. It is a debate artists actively take part in to prove that art is as noble as poetry. Labor is the focus of the debate, but a despised one. So, the craftsman of goldsmiths and labor of sculptors was overlooked. But, Cellini's opinion is totally different. He defended the craftsman and labor, and make an important complement to Renaissance art theory.
Promoted by the desire to raise social status, Renaissance artists often appeared as noble and elegant. Cellini also adopted the image, but meanwhile created another vulgar one which other artists do not dare to use. So, as a whole man, Cellini left a colorful print in Renaissnace
引文
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[3] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:24.
[4] 恩斯特·克里斯,奥托·库尔茨.潘耀珠译,邱建华校.艺术家的传奇[M].杭州：中国美术学院出版社.1990：35-36.
[5] Nicolas Pevsner. The Term "Architect" in the Middle Ages. Speculum, Vol.17,1942:555.
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[1] 亚里士多德.苗力田主编,颜一,秦典华译.亚里士多德全集·第九卷[M].北京：中国人民大学出版社,1990：283.
[2] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：288.
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[4] 恩斯特·克里斯,奥托·库尔茨.潘耀珠译,邱建华校.艺术家的传奇[M].杭州：中国美术学院出版社,1990：35.[5] “安德里亚·德·卡斯坦尼奥是农夫之子,保罗·乌切洛是理发师之子,菲利普·利比和波拉约利则分别出自屠夫和家禽贩子家庭。他们都以父亲的职业称呼、自己的出生地或师傅的名字来取名,并常被当作仆人对待”。 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03)：26.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:381-390.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:367.
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[1] Peter Burke. The Italian Renaissance:Culture and society in Italy[M]. Cambridge:Polity Press,1999:47.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:62.
[3] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:51.
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[5] 张彦远.历代名画记·卷一[M].北京：人民美术出版社,1963：15.
[6] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：5.
[1] Martin Wackernagel, Alison Luchs trans. The World of the Renaissance Artist[M]. Princeton University Press.1981:301.
[2] Andrew Martindale. The Rise of the Artist in the Middle Ages and Early Renaissance[M]. New York: Mcgraw-Hill Book Company,1972:9-10.
[3] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：19.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:XXXV, XXXVI.
[5] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:2-3.
[6] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：4-6.
[7] 卡佩拉在其编纂的大词典中最先明确提出了自由七艺的体系即：语法、修辞、逻辑、算术、几何、天文、音乐。中世纪学者将其进一步划分为三文科(语法、修辞、逻辑)和四文科(算术、几何、天文、音乐)。保罗·奥斯卡·克里斯泰勒,邵宏译.文艺复兴时期的思想与艺术[M].北京：东方出版社,2008：175,177.
[1] 保罗·奥斯卡·克里斯泰勒,邵宏译.文艺复兴时期的思想与艺术[Ml.北京：东方出版社,2008：178.
[2] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:48.
[3] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：289.
[4] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：290-291.
[5] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：393.
[6] 亚里士多德.诗学[M].北京：人民文学出版社,1962：11-12.
[1] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:73.
[2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:75.
[3] 如琴尼尼在书中提到的想象、摹仿自然的观念。Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2,15. [4] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:64-65.
[5] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:19-30.
[1] 这里以诗代表诗歌、修辞、算术等自由学科,以画代表绘画、雕塑、建筑艺术等造型艺术。
[2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:165.
[3] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:165.
[4] Moshe Barasch. Theories of art:From Plato to Winckelmann[M], New York:Routledge2000:12.
[5] Noel Brann. The Debate of the Origin of Genius During the Italian Renaissance[M]. Leiden:Brill,2002: 77.
[7] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：8.
[6] Michael Baxandal. Giotto and Orators[M]. Oxford:Clarendon Press,1971:100.
[8] 但丁,田德旺译.神曲·炼狱篇[M].北京：人民文学出版社,1997：125.
[1] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:164. [2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:167.
[3] Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:71.
[4] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:166. [5] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[6] Carroll Westfall. Painting and the Liberal Arts:Alberti's View. Journal of the History of Idea. Vol.30, No.4 (1969),506.
[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[8] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[9] “两者都关注作品的度量与主题的发明……画家与诗人一样需要表现主题的特性,两者的天赋与才能都在这一点上得到最大程度的表现”。Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971: 103.
[1] Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:97-98.
[2] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：9.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：17. Artistic Theory in Italy 1450-1660[M]. NY:Oxford University Press,1985:52.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[2] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[3] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社.2003：12.
[4] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:153.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:12.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：19.
[1] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：8.
[2] Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:88.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：17.
[4] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：44-45.
[5] “浅浮雕要求的构思,远比全浮雕为多,因而在构思的宏伟上更接近绘画。它利用了透视学,全浮雕则将它弃置一旁,利用直接测量”。列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：19.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：18.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:16-17.
Robert Klein & Hennri Zerner. Italian Art 1500-1600:Sources and Documents[M]. Evanston,1989:10-13.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:13.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:63.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：21.
[4] “在这些方面,雕塑家都得到自然的帮助。画家须要运用智力来学习光、影与透视,要把自己化身为自然,雕塑家则总是发现这些东西现成摆着。”列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社.2003：21.
[5] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W. W. Norton & Co,2002:59.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：18.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
Architects[M]. New York:Harry N. Abrams,1979:17.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:15-16.
[2] Anthony Blunt. Artistic Theory in Italy 1450-1660[M]. NY:Oxford University Press,1985:54.
131 Robert Goldwater, Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M]. London:John Murray,1981:66.
[4] Robert Klein & Hennri Zerner. Italian Art 1500-1600:Sources and Documents[Ml. Evanston,1989:15.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:14-15.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1739-1741.
[7] Nikolaus Pevsner. Academies of Art:Past and Present[M]. Cambridge University Press,1940:16.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:58-59.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:352.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:292.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:644.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:661.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:40.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:30.
[1] Benvenuto Cellini, C. R. Ashbee trans. The Treatises of Bevenuto Cellini on Goldsmithing and Sculpture[M]. London:Arnold,1888.
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[3] 即恩培多克勒的四根说,他认为世间万物都是由四种最基本的元素即水、火、士、气构成的,这四种元素都是最基本的东西,它们按照不同比例构成了万事万物。北京大学哲学系外国哲学史教研室编译.西方哲学原著选读上卷[M].北京：商务印书馆,1981：44.(古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆.2012：9.
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[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:103.
[1] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:88.
[2] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:173.
[3] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:136.
[4] Martin Kemp. From Mimesis to Fantasia:The Quattrocento Vocabulary of Creation[J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),357.
[5] A. Manetti, H. Saalman ed. The Life of Brunelleschi by Antonio di Tuccio Manetti[M]. London:University Park,1970:108. [6] J. C. Hutchison. Albrecht Durer:A Biography[M]. Princeton,1990:120. C. Gilbert ed. Italian Art 1400-1500:Sources and Documents[M]. NJ:Englewood Cliffs,1980:97.
[7] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:170.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:233-235.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:233-235.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:16-17.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:91.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:167.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:81.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83-84.
[1] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:131-132.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23,46.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:41,55.
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[6] M. Warnke. The Court Artist[M]. London,1993:44.
[1] 由于像章成本低且携带方便,因此“十六世纪的雕塑家常自发制作像章以争取可能的赞助人”。并且在这些作品中艺术家的个人签名清楚可见。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:120. Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:107.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:131-133.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1139-1140.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:148.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:302.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:302-304.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:187.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:144.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:115.
[2] 布鲁内莱斯基说：“不要与太多人分享你的发明(invenzioni),只与少数理解并热爱科学的人分享。过多地谈论发明和成果会贬低你的才华。”Martin Kemp. From Mimesis to Fantasia:The Quattrocento Vocabulary of Creation[J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),351.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:238.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini [M]. London:Penguin Books,1956:238.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[2] 亚里士多德,苗力田主编.亚里士多德全集·第二卷[M].北京：中国人民大学出版社,1991：513-517.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 21.
[4] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 22.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:291.
[3] 西塞罗,石敏敏译.论神性[M].上海：上海三联书店,2007：85-86.
[4] 西塞罗,石敏敏译.论神性[M].上海：上海三联书店,2007：81.
[5] Leo Battista Alberti, Joseph Rykwert trans. On the Art of Building in Ten BooksCambrigde:The MIT Press, 7.1,122r.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:240.
[2] Harold Mattingly, Coins of the Roman Empire in the British Museum[M]. London:British Museum,1965.[3] 如瓦萨里指出列奥内·列尼为乔万尼·雅可波·美弟奇陵墓制作的一尊青铜雕像代表神意。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects [M]. New York: Harry N. Abrams,1979:2032. [4] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 30.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:240.
[6]Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:302.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:118.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:330.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:33.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:248.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:54.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:54.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:149.
[4] M. Kemp and M. Walker ed. Leonardo on Painting[M]. New Haven and London,1989:19.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books.1956:120.
161 Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:171.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:334.
[8] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:64,250,146.
[9] 之所以被称为伟大理论,是因为这一理论的主流性、古老性以及持久性。瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：130.
[1] 范景中,曹意强.美术史与观念史(Ⅲ)[M].南京：南京师范大学,2006：601.
[2] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：133.
[3] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：133.
[4] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：137.
[5] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：214.
[6] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：140.
[7] 指切利尼制作的瓶罐。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:55. [8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[9] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：135.
[10] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：135.
[11 ] 范景中,曹意强.美术史与观念史(Ⅱ)[M].南京：南京师范大学,2006：600.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:238.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:88-89.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:238.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:21.
[5] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:15.
[6] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：278.
[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：5.
[8] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:30.
[9] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harrv N. Abrams.1979:27. Books.1956:318.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:62-63.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[3] Leo BattistaAlberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:91.
[4] Giogrio Vasari. Gaston Du C. de Vere trans. Lives of the Most Eminent Painters. Sculntors and Architects[M]. New York:Harry N. Abrams,1979:771.
[5] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：300-301.
[1] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:55.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:58.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:133.229.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772. [6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books.1956:133.52.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:133,83,146.
[1] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:170.
[2] Benvenuto Cellini. Georee Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:171.
[3] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:14-15.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N.Abrams,1979:1978.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:29,32,41.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:29,32,34.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:53-54.
[1] J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:307.
[2] R. Weiss. The Renaissance Discovery of Classical Antiquity[M]. Oxford:Basil Blackwell,1969:53.
[3] V. D. Bisticci, W. George and E. Waters trans. The Vespasiano Memoirs[M]. London:University of Toronto Press,1963:399.
141 J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:359.
[5] J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:404.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:92.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:92.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:94.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:120.
[2] Aby Warburg. Sandro Botticelice's Birth of Venus and Spring:An A Examination of Concepts of Antiquity in the Italian Early Renaissance, in The Renewal of Pangan Antiquity [M]. Los Angeles,1999:89-156.
[3] Rev ed. Coins of the Roman Empire in the British Museum Vol 2 [M]. London:British Museum,1968:no. 43.
[1] Philip Pray Bober, Ruth Rubinstein. Renaissance Artists and Antique Sculpture:A Handbook of SourcesLondon:Harvey Miller Publisher,1986:197.
[2] Whitman, T. Nathan and L. John. Roman Resurgens:Papal Medals from the Age of the Baroque[M]. An Arbor:University of Michigan Museum of Art,1981:18.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books,1956:381.
[4] “围绕着这些图案我刻了一行字:'Clauduntur belli portae'"。 Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:131.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Peng Books,1956:132.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:911.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:910.
[3] Ascanio Condivi, George Bull trans, Michelangelo:Life, Letters and Poetry [M]. England:Oxford University Press,1987:59.
[4] Giorgio Vasari, Julia Conaway Bondanella, Peter Bondanella trans. Lives of the artists, oxford,1991:471.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:30.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:84.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:111.310..
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:291.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:298.
[1] 如在第一章第二节提到的诗中切利尼称画家“用阴影欺骗灵魂,而任何一位优秀的雕塑家都不会这样做”。Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:52.
[2] Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:8.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:374.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:374.
[5] Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:9.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2089.
[1] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社,2003：17.
[2] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:293.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:395.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:344.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:342.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:773.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:774.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:774.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:332.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:784.
[8] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:259.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Books,1956:269. Architects[M]. New York:Harry N. Abrams,1979:383.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1142.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:330.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2224-2225.
[6] “我开始使自己成为他这一行的专家,尽管困难很大。同时,虽然它给我带来很多麻烦,但我从来不厌倦,为了追求利益与知识,我始终勤奋工作”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52.
[7] “雇了许多工人后,我开始非常勤奋地工作,夜以继日,从未间断。因此,不久我便完成了朱庇特、武尔甘、和玛尔斯的泥塑,也做了许多朱庇特银像的工作,我的工作室看起来很像个样”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:259.
[8] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:30.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:32.
[2] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:33.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:32.
[4] 这是切利尼的青铜塑像《珀修斯》首次揭幕时贴于雕塑基座上的一首诗。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:48.
[5] Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
[6] “我不是那种想从你身上一下子捞到成千上万金币的人,相反,我只想靠我的劳动得到报酬”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books, 1956:330.
[1] Michelle O'Malley. The Business of Art:Contracts and the Commissioning Process in Renaissance Italy[M]. New Haven:Yale University Press,2005:100.
[2] 如基兰达约与斯佩达修道院长之间的合同明确规定画家“必须使用优质颜料上色,按要求用金粉绘制装饰物……背景天空必须使用4弗罗林一盎司的群青”。Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press, 1988:6.
[3] “艺术家劳动的手工业特点因艺术家从他们的雇佣者手中领取固定的工资而得到较为充分的体现。至于创作大型的艺术作品,所有开支——亦即材料费和工钱,甚至还经常包括助手和学徒们的膳食——均由雇佣者们负担,画师本人按工时领取报酬。工资制劳动在绘画行业中作为普遍采用的方法一直延续到十五世纪末；只有到后来,这种计酬方式才限于纯粹的手工艺活中,如修复和临摹”。阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03).
[4] 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03).
[5] 如阿尔贝蒂在其《绘画论》中支持画家即使描绘金制品也不使用金粉而调用黄色与白色：“有些画家滥用金色,他们以及为这可以为绘画增辉。但我决不赞同他们的观点。即使我绘制维吉尔的迪多,她的金箭囊、挽起的金发、束衣袍的金扣环、驾车用的金缰绳以及所有金饰物,我都不会用金粉,而是调制黄色与白色来表现这一炫目的金光。之所以这么做不仅因为调制颜色可以为画家带来更多荣誉和赞赏,还因为当用金粉在平面上作画时,应亮的面显得暗淡,应暗的面却看起来更亮”。Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:85.
[6] Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press,1988:23.
[7] 正是这一低廉的价格和支付方式造成了多纳泰罗和赞助人之间的冲突。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams, 1979:436.
181 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
[1] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[2] “开始时我是自己写这本《自传》的,这从其中几页可以看出来,但由于写作太费时间,并且非常乏味,所以当我遇到米歇尔·戈罗的儿子,一个身体孱弱的十四岁男孩时,就把写作的任务交给了他。我在工作时向他口述我的生平,这样做效果很好,我工作起来更带劲,做出的作品也更多。所以我把写作的负担交给他,并希望能把我想得起来的故事继续讲下去”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
但有趣的是同是雕塑家的班迪内利则称笔比凿高贵。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[3] “我的好孩子’,他说,‘我也曾是一个好画师。但是为了艰苦劳动后的休息,为了把你带到世界上来并照顾你、培养你杰出天才的父亲,你能否答应偶尔吹奏笛子与小号做为消遣?”,Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:26.
[4] “我仍然每天去上音乐课,几周内在这一该死的艺术上有了很大进步。但是我在金银工艺方面的收获更大”。Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London: Penguin Books,1956:23,25.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:332.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2235. [7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2242.
[8] Karl Frey. Der Literarische Nachlass Giorgio Vasaris vol 1 [M]. Munich:Georg Muller,1923:220.in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:40.关于这封信的讨论参见David Summers. Michelangelo and the Language of Art. NJ: Princeton University Press,1981:64.
[1] David Summers. Michelangelo and the Language of Art. NJ:Princeton University Press,1981:64-65.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2242.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2256.
[4] Bruno Maier ed. Opere[M]. Rizzoli, 1968:875.
[5] 切利尼对科西莫公爵的质疑所做的辩护详细论述了这一点：“优秀的雕塑家和画家为了君王的荣耀创作作品,其作品流芳百世,是城市美丽的装饰。因此,鉴于优秀作品的长久生命,难道您,勇敢杰出的君主,不希望它们制作得好一些吗?因为您的荣耀大多来自这些优秀的作品。因此,如果差别是将作品做得好或不好,那么需要的时间是两年还是三年就不再重要"。Bruno Maier ed. Opere[M]. Rizzoli,1968:875
[6] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press, 2002:216.
[1] 切利尼在自己的各类文学作品(自传、诗歌、论文)中都有对瓦萨里的抨击。如他在自传中称瓦萨里曾向公爵诽谤切利尼“曾向人吹嘘要同被公爵流放的人一起攻打佛罗伦萨,而我(切利尼)则第一个跳上城墙”。因此切利尼去向公爵澄清,此时瓦萨里正好经过,在切利尼的质问下,“乔尔乔(瓦萨里)匆忙溜走”。切利尼称这一诽谤是瓦萨里“对我对他做的许多好事的报答。说实话,我在罗马时招待过他,给他钱花,他却把我家搞得一团糟。这是因为他有干皮肤病,经常用手抓。他与我的一个叫曼诺的好脾气的工人睡在一起,他以为在抓自己却抓伤了曼诺的腿,他的脏爪子上的指甲从来不剪。曼诺离开了我并发誓要杀死他。我为他们两人调解,并为乔尔乔在美弟奇红衣主教那里找了一份工作,我始终以各种方式帮助他”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books. 1956:160-162.
[2] Girseppe Guido Ferrero ed, Opere di Benvenuto Cellini[M]. Turin:UTET,1980:352-353.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:146. [3] Giordano bruno, G. Gentile ed. Dialoghi Italiani[M]. Florence:Sansoni,1985II:986-987.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:145.
[4] Pontus de Tyard. Oeuvres:Solitaire Premier[M]. Geneva:Droz,1950:8-12. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:145.切利尼在法国期间(1545-15)很有可能接触到这一理论,详见Yates,59,77-94,131-134其中论述了大量切利尼的法国赞助人法王弗兰西斯一世时期法国作家关于狂热的观点。Frances Yates. The French Academies of the Sisteenth Centuty. London:Warburg Institute,1947.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:225-226.
[2] “轮廓常常是灵感的瞬间产物,虽然廖廖几笔,艺术家的理念已经表现出来；相反,如果从来不知何时该停止工作,那么过度的勤奋有时会使艺术家丧失创造力和判断力”。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979: 332.
[3] “珐琅是难度极大的手艺,因为在最后阶段火非常容易毁掉整个作品,但我仍全身心学习这一手艺。我发现这非常困难,但我仍以此为乐”。“我做了许多这样的徽章,尽管这是非常难做的活”。BenvenutoCellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52,63.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:315.326.327.341.344.363.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:366-367. Books,1956:373.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[2] 如瓦萨里记载雕塑家称“雕塑模仿真实的形式,表现物体的每个面、每个角度,而绘画只是平面上最简单的几笔,只有一种光、一个角度。”。切利尼也称“一座雕像有八个面,且每个面需一样好”。两者的论证方式并无实质性差别。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:13. Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:87.
[3] Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:89-90.
[4] Michelle O'Malley. The Business of Art:Contracts and the Commissioning Process in Renaissance Italy[M]. New Haven:Yale University Press,2005:122.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:63-64.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:289.
[2] 皮埃罗·本博(1470-1547),“不仅是一位活跃于宫廷之中的大臣,后来也成为当时的文坛泰斗。”周式中,孙宏,谭天健等主编,何遂,李贵仓,于耀明等编写.世界诗学百科全书[M].西安：陕西人民出版社.1999：806-821.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:177.
[4] 现存的一封切利尼写给瓦尔基的信证实切利尼此言非虚。李瑜译.文艺复兴书信集[M].上海：学林出版社.2002：78-79
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:177.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:341.
[1] Bruno Maier ed. Opere[M]. Milan:Rizzoli,1968:870.引自Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:34.
[2] Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London: Cambrigde University Press,2004:33.
[3] 关于阿尔贝蒂的这一解剖理论对16世纪艺术理论与实践的影响参见Bernard Schultz. Art and Anatomy in Renaissance Italy[M]. Ann Arbor, MI:UMI Research Press,1985.
[4] Biblioteca Nazionale Centrale, Florence MS Palatino E.B.16.4, fol.40v. in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:33.
151 Paola barocchi. Scritti d'arte del Cinquecento. Vol.2[M]. Milan:Ricciardi,1973:1902. in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:33.
[6] 切利尼所指的即是与阿尔贝蒂方法相同的,由骨骼开始(在切利尼这里确切地说是由一根小腿骨开始)的方法。Bruno Maier ed. Opere[M]. Rizzoli,1968:870.
[7] 正如简·泰勒斯所说：“切利尼最后的文字作品都试图将艺术家定义为团体的一员而不是一个个体,这一团体中的艺术家拥有制作知识和将这一知识传授给他人的能力,这使艺术家即使不是独立自足的,也至少是秘密‘智慧’的拥有者。由于拥有这一只显现于制作过程中的智慧,切利尼的读者就会确信艺术家有别于并且优于(至少切利尼是这么认为的)依赖艺术家制作美丽作品的赞助人”。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:53.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:346.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:348.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:16-17.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:24.
[6] 布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：427.
[7] 当西塞罗等罗马作家的作品被重新发掘并深度研读后,其著作中的荣誉概念对文艺复兴时期荣誉观的发展起到了推波助澜的作用。布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：136.
[8] Guido Ruggiero. The Boundaries of Eros:Sex Crime and Secuality in Renaissance Venice[M]. New York, 1985:17-22.
[9] Guido Ruggiero."'More Dear to Me than Life Itself:Marriage, Honor, and a Woman's Reputation in the Renaissance," in Binding Passions:Tales of Magic, Marriage, and Power at the End of the Renaissance[M]. New York,1993:57-87.
[1] John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge, 1992:107ff.
[2] John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge, 1992:106.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:66-67,134,99,125,289.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M].New York:W.W. Norton & Co,2002:56.
[5] Giovanni Della Casa, Giancarlo Rati ed. Galateo overo de' costumi[M]. Rome,1993:43. in Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan.2003:120.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:135.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:124.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:333.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:365-367.
[1] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:161,166,173.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:258.
[3] 这里同样有捍卫城邦荣誉的原因。如切利尼说：“我之所以采取这么激烈的手段,是因为他对我说没有一个意大利人敢动他一根毫毛。当我扔完他的东西后,我对他说：‘我只不过是意大利最微不足道的一个人,比起我可以做的事情,刚才的事根本不值一提,如果你敢说一句话,就饶不了你”。BenvenutoCellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:275.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:271.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:77-78.
[1] 丹纳,傅雷译.艺术哲学[M].天津天津社会科学院出版社,2007：87-88.
[2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:123.
[3] 官方文件称乔凡尼死于“非常严重的热病”,但在乔凡尼之后14天去世的加齐亚的死因一直未有明确记载。Christopher Hibbert. The Rise and Fall of the House of Medici[M]. New York,1979:269.
[4] 丹纳,傅雷译.艺术哲学[M].天津：天津社会科学院出版社,2007：89.
[5] Felix Gilbert. Machiavelli and Guicciardini:Politics and History in Sixteenth-Century Florence[M]. New York.1984:118.
[6] Guillaume Bude, Annotations in pandectas[M]. Westmead,1966:68.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:136.
[8] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:56.109.316.
[9] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:247-248.
[1] 尼科洛·马基雅维里,潘汉典译.君主论[M].北京：商务印书馆,1986：120.
[2] 古典神话确实是这一暴力倾向最好的借口。早在奥维德的《爱的艺术》中这一暴力的占有就被明确地提出：“尽管她拒绝了他们,但仍要吻她。或许起初她会挣扎哭喊‘你这流氓!’但在挣扎中她将会希望被占有……吻她的男人如果不继续下去,就会失去本应得到的东西……你应该使用暴力：女人喜欢你用暴力……被暴力占有的女人感到幸福快乐……相反,本应被强暴却毫发无伤的女人……则黯然伤心。菲比和她的姐妹都被强暴：但每一个强暴她们的人都发现被他强奸的女人是愉悦的”。Ovid. Artis amatoriae 1.664-80. in J.H.Mozley trans. The Art of Love and Other Poems[M]. Cambrigde:Loeb Classical Library,1993:59.
[3] Egon Verheyen. The Palazzo del Te in Mantua:Images of Love and PoliticsBaltimore,1977:28-29.
[4] Jerry Lee. Vasari's Decoration in the Palazzo Vecchio, Ph.D.diss, University of North Carolina, Chapel Hill, 1973:164-77.
[5] Margaret D. Carroll. The Eros of Absolutism:Rubens and the Mystification of Sexual Violence[J]. Representations, No.25(Winter,1989),8.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 140.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:289.
[3] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:50.
[1] Vincenzo Borghini. Dell'Arme delle familie fiorentine[M]. Florence:Festina Lente,1990:44. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:119. [2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:30-31.
[3] Aby Warburg, David Britt trans. The Renewal of Pagan Antiquity[M]. Los Angeles,1999:242.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15,383.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:389.
[2] 布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：427.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 45.
[4] Pomponius Gauricus, edited by Andre Chastel and Robbert Klein. De Sculptura[M]. Geneva:DROZ,1969: 225. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 45.
[5] M. Kemp, M. Walker eds. Leonardo on Painting[M]. New Haven and London,1989:19.
[6] 如安德烈·戴·卡勒伯浇铸了多纳泰罗《加塔梅拉塔》的马匹和桑托祭坛的大多数青铜作品。
H.W. Janson. The sculpture of Donatello[M]. Princeton:Princeton University Press,1957:50.
H.W. Janson. The sculptured works of Michelozzo di Bartolommeo. Ph. D. diss. Harvard University.1941: 165.167.
[7] Bruce Boucher. The Sculpture of Jacopo Sansovino[M]. New Haven:Yale University Press,1991:145.
[8] Paola Barocchi ed. Scritti del Arte del Cinquecento[M]. Milan and Naples:Riccardo Ricciardi,1973: 391-392. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press, 2002:45.
[1] Benvenuto Cellini, "Libro di Benvenuto di m[aestro] Giovanni celljnj schultore intjtolato giornale segnjato A," Florence, Biblioteca Riccardiana, Codice Riccardiano,2788 fol 2v. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:47.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[3] 亚历桑德罗·拉斯奇卡提是位铸炮者,并熟悉塑像的浇铸。Marco Spallanzani.The Courtyard of PalazzoTornabuoni-Ridolfi and Zanobi Lastricati'a Bronze Mercury. The Journal of the Walters Art Gallery 37(1978): 7-21.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:348,341.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:105.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:264.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:265.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:266.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345-347.
[5] “公爵经常来看,他十分担心我不能成功地浇铸塑像,所以请几个专家来为我浇铸塑像”。“班迪内利使公爵相信尽管我已经成功浇铸出一两个塑像,但绝不可能浇铸出群像,因为这是一个我完全不了解的艺术……这些话对公爵很起作用”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:323-324,327.
[6] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:341.
[1] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：36-37.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:341.
[3] iny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:305,319.
范景中,曹意强.美术史与观念史(Ⅱ)[M].南京：南京师范大学,2006：606.
傅雷.世界美术名作二十讲[M].北京：三联书店,1985：49.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:339.
[5]列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社,2003：35.
[1] Moshe Barasch. Theories of art Volumel[M]. New York:Routledge,2000:27.
[2] 如图上帝被表现为手拿圆规的建筑师形象,这一比喻最权威的来源是《圣经》,在《圣经》中上帝被比做教会的建筑师。圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：620.
[3] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社.2003：12.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:387.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:434-435.
[2] 这首诗出自贝尔纳多们纳贝蒂1552年写给瓦萨里的一封信,见Paola Barocchi ed. Scritti del Arte del Cinquecento [M]. vol2, Milan and Naples:Riccardo Ricciardi,1973:1198-1200.关于这封信的评论见Kathleen Weil-Garris(Brant). On Pedestals:Michelangelo's David, Bandinelli'a Hercules and Cacus, and the Sculpture of the Piazza della Signoria. Romisches Jahrbuch fur Kunstgeschichte 20(1983):377-415.
[3] Francesco Bocchi. Le bellezze della citta di firenze[M]. Amsterdam:Demand Reprints,1984:35.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:64.
[4] Vannoccio Biringuccio, Adriano Carugo ed. De la pirotechnia[M]. Milan:IlPolifilo,1977:BookI (n.p.). in Michael W. Cole. Cellini and the principles of sculpture New York:Cambridge University Press,2002:65.
[5] Giuseppe Guido, Ferrero ed. Bevenuto Cellini[M]. Turia,1980:945.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:342.
[1] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：2.
[2] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：46.
[3] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：52.
[4] Michael W. Cole. Cellini and the principles of sculpture New York:Cambridge University Press,2002:53.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:323.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:347.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini [M]. London:Penguin Books,1956:347.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 222.
[2] Giorgius Agricola. De la generatione de le cose, che sotto la terra sono, e de le cause de'loro effetti e natura. Venice:Michele Tramezzino,1550:66. in Michael W. Cole. Cellini and the principles of sculpturefMl. New York:Cambridge University Press,2002:51.
[3] Antonio Allegretti, edited by Mino Gabriele. De la trasmutatione de metalli[M]. Rome:Mediterranee,1981: 52. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 51.
[4] Vannoccio Biringuccio, edited by Adriano Carugo. De la pirotechnia [M]. Milan:IIPolifilo,1977:6r. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:52.
[1] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications,1960:205.
[2] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[3] (古希腊)柏拉图,王晓朝译.柏拉图全集第一卷[M].北京：人民出版社,2002：109.
[1] 北京大学哲学系编译.西方古典哲学原著选辑.古希腊罗马哲学[M].北京：三联书店,1957：178-179.
[2] “一方面我们说有多个的东西存在,并且说这些东西是美的,是善的等等……另一方面,我们又说有一个美本身,善本身等等,相应于每一组这些多个的东西,我们都假定一个单一的理念,假定它是一个统一体而称它为真正的实在。”北京大学哲学系编译.西方古典哲学原著选辑.古希腊罗马哲学[M].北京：三联书店.1957：178-179.
[3] (古希腊)柏拉图,王晓朝译.柏拉图全集第一卷[M].北京：人民出版社,2002：111.
[4] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[5] Paolo Rossi."Sprezzatura, Patronage, and Fate:Benvenuto Cellini and the World of Words." In Philip Jacks eds. Vasari's Florence:Artists and Literati at the Medicean Court. Cambridge:Cambridge University Press,1998:55-69.
[1] Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:299.
[2] “头脑中形成的某种概念,它能使我们清晰明确地识别任何事物,并在实践中与所意图的事物相一致。”Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:300.
[3] “以不具物质形态的形式勾画出的事物轮廓。’'Moshe Barasch. Theories of art Volume 1[M]. New York: Routledge,2000:301.
[4] 潘诺夫斯基.理念.引自范景中,曹意强主编.美术史与观念史(Ⅱ)[M].南京：南京师范大学出版社,2003：608.
[5] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[6] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[7] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications,1960:205.
[1] (古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆,2012：2.
[2] (古希腊)亚里士多德,吴寿彭译.形而上学[Ml.北京：商务印书馆,2012：2.
[3] (古希腊)亚里士多德,苗力田主编.亚里士多德全集.第一卷[M].北京：中国人民大学出版社,1990：348.
[4] “医术不研究苏格拉底的健康问题,而研究这一类人或那一类人的健康问题,这个问题属于艺术(技术)的范围,至于个别的人则是数不清的,不是科学的对象”。罗念生.罗念生全集.第一卷[M].上海：上海人民出版社,2004：152-153.
“诗是一种比历史更富哲学性、更严肃的艺术,因为诗倾向于表现带普遍性的事,而历史却倾向于记载具体事件”。(古希腊)亚里士多德,陈中梅译.诗学[M].北京：商务印书馆,1996.81.
[5] (古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆,2012：134..
[6] (古希腊)亚里士多德,廖申白译.尼克马可伦理学fM].北京：商务印书馆,2010：166.
[7] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772.
[2] “在比例上,他们缺乏某种好的判断力,这种判断力无须依靠测量,便可使艺术家笔下的形象在不同部分的适当关系中获得某种不能被测量的优雅”。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation: an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:70.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:433.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:297.
[2] Robert Williams. Art theory and culture in sixteenth-century Italy:from techne to metatechne[M]. New York:Cambridge University Press,1997:48.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[4] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[5] “人总是从disegno那里获得好的考虑,不求助于它就不能完美地操作实践。”Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:124.
[6] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：68.
[7] “如果我不知道所有最伟大的技师对自然界奇妙作品的热衷不逊于制作源自disegno事物表现出的德行与杰出性,我就不会如此简洁地陈述,而是详细论述了。”Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:124.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 126.
[2] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：68-69.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[4] “制作不同于实践(我们甚至从普通讨论中也能看出这种区别),实践的逻各斯的品质同制作的逻各斯的品质不同。其次,它们也不互相包含。实践不是一种制作,制作也不是一种实践。”(古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[5] Robert Williams. Art theory and culture in sixteenth-century Italy:from techne to metatechne[M]. New York:Cambridge University Press,1997:49.
[6] Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:300.
[1] 潘诺夫斯基.理念.引自范景中,曹意强主编.美术史与观念史(Ⅱ)[M].南京：南京师范大学出版社,2003：627.
[1] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:23.
[2] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:160.
[3] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:159.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.
[1] 诸如此类的辩护意识在《自传》中多次出现,如“我认为现在我应该对这件事加以公正的、诚实的解释"。 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:320-321.209.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:321.
[3] “我一接到菲拉腊红衣主教的信,就马上写了回信,向他说明我对德·加迪红衣主教所说的事一无所知"。 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:188.
[4] “然后当着众人的面我解释道,有个卑鄙的流氓对公爵说我吹牛要第一个登上公爵的城墙,并诽谤我说公爵的坏话。我说因此我就将生死置之度外,来向公爵解释,直至澄清这一可耻的诽谤”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:161.
[5] 忏悔录是西方自传传统的核心。据统计,西方继奥古斯丁之后,以忏悔录为自传名的作品“传世的估计有1000种以上”。如卢梭、托尔斯泰等的《忏悔录》。此外,还有许多富有忏悔意识的自传作品,如歌德的《诗与真》、富兰克林的《富兰克林自传》、纪德的《如果种子不死》、萨特的《词语》等。
赵白生.传记文学理论[M].北京：北京大学出版社,2012：218.
杨正润.现代传记学[M].南京：南京大学出版社,2009：328.
曹蕾.自传忏悔：从奥古斯丁到卢梭[M].北京：中国社会科学出版社,2012：1.
[6] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：30.
[7] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：1.
[8] 对比切利尼的观点：“我的诞生是多么使上帝感到高兴”。切利尼不但不认为自己的出生有罪,反而花大量笔墨描写了自己奇迹般的诞生,以突显自身与众不同的价值,如他借父亲之口所说：“上帝,我衷心地感谢你,这是一件伟大的礼物,我很欢迎(意大利语的发音为‘本威努托’,切利尼即以此为名)他”。奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：10.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:11.
[1] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：24.
[2] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：72.
[3] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：30-35.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:36.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:51.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:320.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:338.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:126.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:191.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:142-143.151.219.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:65-69.
[1] 圣经·新约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：114.
[2] 切利尼则一方面坚持不认罪,同时另一方面坚持真理在自己这里：“现在真理终于战胜厄运了!我向上帝祈祷,这是否是他的意志要救我出险”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:215.
[3] 圣经·新约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：268.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:309.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:38,48.
[6] “因为骄傲模仿伟大,独有你天主是凌驾一切之上；贪婪追求地位光荣,但尊荣永远是属于你的；有权势者的暴虐企图使人畏惧,但唯有你天主才能使人敬畏,一人在何时何地,用什么方法、凭借什么能越出你的权力?……妒忌妄想高人一等,但谁能超过你呢?”奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：32-33.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:278.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:214.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:231.
[3] “同性恋是一种对同性所产生的性爱行为或感情。”“以同性为满足性欲的对象。”
王伟主编.中国伦理学百科全书·婚姻家庭伦理学卷[M].长春：吉林人民出版社,1993：175.
陈光中主编.中华法学大辞典·诉讼法学卷[M].北京：中国检察出版社,1995：576.
[4] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175.
[5] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:14.
[6] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:282.
[1] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：111,113.[2] Guido Ruggiero. The Boundaries of Eros:Sex Crime and Secuality in Renaissance Venice[M]. New York, 1985:109.
[3] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York,1996:4.
[4] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175.
[5] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175-176.
[6] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:177.
[7] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York,1996:449.
[1] “八人委员会利用黑豆和白豆进行投票表决,投票人秘密将豆放入杯中,其中秘书不参加投票。七粒黑豆代表罪行成立,七粒白豆代表罪行不成立”。John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge,1992:64.
[2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:153-154.
[3] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:234.
[4] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:179.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:189-190.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:191.
[7] 罪行、法庭、判决这些经历是创伤性的,被遗忘的可能性不大,如果它们未被提及,则更可能是刻意的隐瞒,因而是更值得探讨的问题。
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:282-331.
[2] “我嘲笑她那婊子的阴谋诡计,当着她的面问男孩：‘琴齐奥,你知道的,我曾对你做过坏事吗。’他哭着说没有……此时我已经非常生气,朝她吼道：‘你这不知羞耻的母狗。如果不是为了我的好声誉和你这个无辜的孩子,我早就把你杀了,我已经有两三次想拔剑。’”Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:324-325.
[3] 上帝之书《圣经》明确谴责了鸡奸罪,但这里切利尼却引用上帝作为论据,颇具讽刺意味。
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:338.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:31.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:39.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:134.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:45.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:59-60.
[3] Gregory Woods. A History of Gay Literature[M]. New Haven,1998:4,198.
[4] Mark Mitchell ed. The Penguin Book of International Gay Writing[M]. England:Harmondworth,1995: ⅹⅲ.
[5] http://calvin.usc.edu/-trimmer/famous names.html. Compiled by the American Library Association.
[6] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:441.
[7] Alan Bray. "Homosexuality and the Signs of Male Friendship in Elizabethan England" In Queering the Renaissance[M]. Jonathan Goldberg ed. Duke,1994:55.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:66.
[2] 并不是罗伊·帕斯科所说的“最坦白的叙述”,也不是亨利锡所说的“像录音机般真实”。
Roy Pascal. Design and Truth in Autobiography[M]. London,1960:28.
John Pope-Hennessy. Cellini [M]. New York:Abbeville Press,1985:13.
[3] P.Barolsky论述了艺术家的暴躁性格。P. Barolsky. Michelangelo's Nose:A Myth and its Maker [M]. University Park,1990:119-122,141-144.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:24.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:36-38.
[2] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:163.
[3] 刑罚之所以这么重,是基于以下三个原因：首先,切利尼违反了第一次的判决。第二,是因为切利尼违反了之前与加斯康蒂签定的和平协定,佛罗伦萨法律对这一罪行的处罚是很严肃的,最轻者处以高额罚款,最重者即是死刑。最后,切利尼的攻击是武装袭击。所以综合以上三点,八大委员会做出了死刑判决。Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:163-164.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:99.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Ccllini[M]. London:Penguin Books,1956:100.
[1] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:169-170.
[2] 关于切利尼与荣誉的问题见P. Barolsky. Giotto'Father and the Family of Vasari's Lives, University Park, 1992:124-126.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:37.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:100-101.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:136.
[1] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998),801. [2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:25-26.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:383,376-377.
[4] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:39.
[5] Dario Trento. Benvenuto Cellini[M]. Florence,1984:48.
[6] Giovanni Antonelli. "La magistratura degli Otto di Guardia a Firenze". Archivio Storico Italiano 112(1954),35.in Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:29.
[1] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:28.
[2] 博尔吉尼对切利尼的敌意在米开朗琪罗葬礼事件中有鲜明体现。米开朗琪罗去世后,disegno学院准备为他举行一个隆重的葬礼,并推选出四个人负责葬礼事务,这四个人是：切利尼、巴托罗米奥·阿马纳蒂、布隆其诺和瓦萨里。但切利尼因不满葬礼组织者温琴齐奥·博尔吉尼将绘画放在灵柩台的右侧(被认为是尊贵的方位),而将雕塑放在左侧,所以与博尔吉尼及支持绘画的瓦萨里发生激烈的争执,最后愤然退出葬礼委员会。因此我们看到瓦萨里在《名人传》中这样记载：“本威努托·切利尼从一开始就身体不适,实际上他未参加葬礼的任何活动。”但这只是瓦萨里对这一事件的淡化,切利尼在期间发表的多首诗作否定了这一说法。Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:53.
Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M].
New York:Harrv N. Abrams.1979:1934-1941.
[3] Ruth Wedgwood Kennedy. Cellini and Vincenzo de'Rossis[J].Renaissance News 4, no.3(1951),36,
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2089.
[5] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:179.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:335.
[7] 诸如此类的对比有许多,如：“公爵大人,请注意,我可以在法国成功地完成那么多重要、困难的作品,唯一的原因是杰出的法国国王给予我慷慨的慷慨的津贴,提供我需要的工人……但是如果公爵大人给我泼冷水,不给我助手,那么我就做不出好的作品”,“现在我清楚地认识到离开法国的重大损失,在这里为这位佛罗伦萨君主工作,毫无前途”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:331,341-342,365.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:314.
[2] Lorenzo Belloto ed. Vita[M]. Guanda,1996:625,628.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:254,256. [3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:72.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:266.
[1] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:271.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:21.
[3] Musee de l'Elysee exhibition catalog:Lucie Galacteros de Boissier, Fortune, Lausanne,1981.
[4] Aby Warburg, David Britt trans. Renewal of Pagan Antiquity [M]. LosAngeles,1999:240,244.
[1] Frederick Kiefer. Fortune and Elizabethan Tragedy[M]. Pasadena, Calif.,1983:10-11.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books,1956:371.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:357.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:361.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:363.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:372.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:301.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:302.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:20.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:295.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:289.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:20.
[3] Derek Parker. Cellini:Artist, Genius, Fugitive[M]. Sutton Pub Ltd,2003:16-17.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 89.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:301.
[3] J·E齐默尔曼,张霖欣编译.希腊罗马神话辞典[M].西安：陕西人民出版社,1987：306.
[2] Chris Murray. Key Writers On Art[M]. London:Routledge,2003:85. Architects[M]. New York:Harry N. Abrams,1979:2073.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
[1] David Summers. Michelaneelo and the Laneuage of Art[M]. Princeton:Princeton University Press.1981: 216-217.
[2] Mary Weitzel Gibbon. Cosimo's Cavallo:A Study in Imperial Imagery. in Konrad Eisenbichler ed. The Cultural Politicis of Duke Cosimo I de' Medici[M]. England:Ashgate,2001:82.
[3] Karla Langedijk. Portrait of the Medici[M]. Florence:Studio per Edizioni Scelte,1981:139. Giuseppe M. Battaglini. Cosmopolis[M]. Multigrafica Editrice,1978:18-37.
[4] Peter Meller. Physiognomical Theory in Renaissance heroic Portraits. In The Reniassance and Mannerism vol Ⅱ[M]. Princeton:Princeton University Press,1963:67-68.
[1] John Pope-Hennessv. Cellini [M]. New York:Abbeville Press.1985:217. Books.1956:92.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 47.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:326.341.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
[1] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:65.
[3] Yael Even. Lorenzo Ghiberti's Quest for Professional Autonomy[J]. Konsthistorisk tidskrift 57(1989):1-6. Richard Krautheimer, Trude Krautheimer-Hess. Lorenzo Ghiberti[M]. Princeton:Princeton University Press, 1983:306-314.
[4] Carl Goldstein. Rhetoric and Art History in the Italian Renaissance and Baroque[J]. Art Bulletin73(1991): 652. [5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
Architects[M]. New York:Harry N. Abrams,1979:1833. [1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:19.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:365.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1858.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1875.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:325.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:364-365. Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1858.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1896-1909.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:350.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:223-224.但丁,王维克译.神曲[M].北京：人民文学出版社,1983：490.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.但丁,王维克译.神曲[M].北京：人民文学出版社,1983：31.[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:368.
131 Ernst Cassier, Paul Oskar Kristeller, John Herman Randall ed. The Renaissance Philosophy of Man[M]. Chicago:University of Chicago Press,1967:224-225.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:40-41.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:290-291.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:120-130.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:363-364.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:98-100.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:168-169.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:76.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:99.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:109.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:127.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:188.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:193.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:207.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:230.
[4] Will Durant就借鉴了切利尼对保罗三世的描述：“他曾囚禁过的切利尼将他描写成一个‘既不信上帝也不信任何事情的人。”,Will Durant. The Story of Civilization[M]. New York:Simon an Schuster,1957:919.
[5] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:368.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:370.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:49.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:109.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:184.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:55.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:71.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:142.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:144.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:199.
[3] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:900-901.
[4] William J. Kennedy. Authorizing Petrarch[M]. New York:Ithaca,1994:84.
[5] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:968.
[1] Robert Durling. The Figure of the Poet in Renaissance Epic[M]. Cambridge,1962:216.
[2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:968.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:339.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1469.
[1] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:979-980.
[2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:980.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London Books.1956:364.
[4] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:60-61.
[1] Benvenuto Cellini, C. R. Ashbee trans. The Treatises of Benvenuto Cellini on Goldsmithing and SculptureLondon:Arnold,1888:ix. [2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:628-630.
[3] 卜伽丘,方平,王科一译.十日谈[M].上海：上海译文出版社,2004：83-93.
[1] Benvenuto Cellini, Pietro Scarpellini ed. Vita, Trattati[M]. Gherardo Casini,1987:412.
[2] 这本书的技术内容对美弟奇王子来说是合适的。美弟奇宫廷尤其喜欢实证知识。科西莫·美弟奇热衷冶金学、植物学、炼金术、应用化学、药品制作。他有一间铸造厂专门用来做实验。弗朗西斯科和费迪那多继承了父亲的兴趣,同样着迷于科学知识,如建筑、机械、陶瓷、挂毯生产工艺、金匠、农业、水力、化学和数学。因此,在这一热爱科学知识的宫廷氛围中,提供类似的知识无疑有助于提升作者的宫廷地位,吸引更多的赞助。Paula Findlen. Possessing Nature. Museums, Collecting, and Scientific Culture in Early Modern Italy[M]. CA: University of California Press,1994:295. Suzanne B. Butters. The Triumph of Vulcan:Sculptors' Tools, Pophyry, and the Prince in Ducal Florence[M]. Florence:Olschki,1996:155,238-239,243,247.
[3] CristinaAcidini. Gherardo Spini[M]. Gonelli,1980:11.
[1] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：131.
[2] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：132-135.
[3] Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press,1988:114-117.
[4] 浙江美术学院编.艺术中的哲学[M].杭州：浙江美术学院出版社,1987：112.
[1] 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术.1995 (03)：27.
[2] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:30.
[3] Leo Battista Alberti, trans by Cecil Gray son. On Painting[M]. London:Penguin Books,1991:88.
[4] M. Kemp, M. Walker eds. Leonardo on Painting[M]. New Haven and London,1989:14.
[5] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：4.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:18.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:27-29,40,45,50,52,55,57,75,98. [2] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:52.
[3] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：12.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:29,50,56.[5] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：4-9.
[6] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：380.
[7] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:51.
[8] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：393.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52.
[1] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：135.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52-53.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：35.
[4] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：9.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52-53.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:44.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83,275,374,376. [8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:91.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:335.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:53,120,205,359.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:93.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:200-201.
[5] 切利尼还利用金匠的装饰能力将一位小伙子打扮成妙龄少女骗过了所有人。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:59-60.
[1] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:5.
[2] 保罗·奥斯卡·克里斯特勒,姚鹏,陶建平译.意大利文艺复兴时期的八个文学家[M].上海：上海译文出版社,1987：12-13.
[3] 彼得拉克也曾亲口承认了自己的基督教信仰：“我的心灵最深处是与基督在一起的”。保罗·奥斯卡·克里斯特勒,姚鹏,陶建平译.意大利文艺复兴时期的八个文学家[M].上海：上海译文出版社,’1987：12.布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：138.
[4] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:11.
[5] 虽然关于这件作品的归属未有一致的结论,但鉴于自传与他传的共同之处,《阿尔贝蒂自传》中塑造的形象的有效性,这一归属问题并不影响本文的分析。布克哈特也认为这部传记出自阿尔贝蒂之手。见布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：133.
[6] Self-Portrait of a Universal Man:Leo Battista Alberti. James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:480.
[1] Benvenuto Cellini, Julia Conaway Bondanella and Peter Bondanella trans. My Life[M]. Oxford University Press, 2002:5. Giuseppe Guido Ferrero ed. Opere di Benvenuto Cellini [M]. Turin:UTET,1980:59.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:87.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:775.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:326.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:570.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:383.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:441.
[8] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:436.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:23.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:28.41.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:133.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:255.
[5] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:373.
[6] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:5.
[1] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:481-487.
[2] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:484,485,490.
[3] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:490.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:16.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:90.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:778.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1096.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1324.
[2] 切利尼的一位师傅对他说：“从你的诚实的脸上我可以看出你是一个善良正直的青年”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:28.
[3] 详见第四章。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London: Penguin Books,1956:338. [4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:878.
[5] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross. Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:489-490.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books,1956:164-165,226,231.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:19.
[1] “上帝是爱真理的,他保护我,将我从多次大难中拯救出来”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:353. [2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:38,217-225.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:21.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:22.
[5] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:151.
[6] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:91.
[7] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:91.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:967,1318.
[2] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：138.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:273.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:93.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:304.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:58-61.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:531.
[8] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:713.
[1] “他尴尬地向前走去,带着布雷斯克口音结结巴巴地说了几句话,人们不可能见到比这更糕的表现了"。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books, 1956:168.
[2] 得体地交谈也是《廷臣论》中的重要内容,卡斯蒂廖内详细论述了完美廷臣应用什么语言交谈以及怎样交谈。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:169. Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:80,40,45,52.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:780.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23.
[3] “本威努托是我们这一行的骄傲。我们确实应该向他的作品和他本人磕头”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:171.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:374.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:54.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:280.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:313.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:350.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1469.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:331-332.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:331.
[1] Florence Biblioteca Riccardiana, Codice Riccardiano,2787:11v,27r,2788:3r,17v,21r,21v,18v,2789:3r.
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[2] Florence Biblioteca Riccardiana, Codice Riccardiano,2788:28v,31r,37r,40v,47v,58v,2789:31r.
[3] Florence Biblioteca Riccardiana, Codice Riccardiano,2788:56v.
[4] Florence Biblioteca Riccardiana, Codice Riccardiano,2788:89v.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345.
[6] Florence Biblioteca Riccardiana, Codice Riccardiano,2787:401r.
[7] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 120.
[1] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998).800.
[2] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998).800-801.
[3] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998),801.
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[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
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98、张彦远.历代名画记·卷一[M].北京：人民美术出版社,1963.
99、但丁,田德旺译.神曲·炼狱篇[M].北京：人民文学出版社,1997.
100、圣经[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008.
101、奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012.
102、北京大学哲学系编译.西方古典哲学原著选辑.古希腊罗马哲学[M].北京：三联书店,1957
103、王伟主编.中国伦理学百科全书·婚姻家庭伦理学卷[M].长春：吉林人民出版社,1993.
104、陈光中主编.中华法学大辞典·诉讼法学卷[M].北京：中国检察出版社,1995.
1、Jonathan Goldberg. Cellini's Vita and the Conventions of Early Autobiography[J]. MLN,Vol.89,No.1,The Italian Issue(Jan.1974),71-83.
2、James V.Mirollo. The Lives of Saints Teresa of Avila and Benvenuto of Florence[J]. Texas Studies in Literature and Language,Vol.29,No.1(1987),54-73.
3、Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998),798-803.
4、Walter HeilSource, A Rediscovered Marble Portrait of Cosimo I de' Medici by Cellini[J]. The Burlington Magazine, Vol.109, No.766 (Jan.,1967),4-12.
5、John Pope-Hennessy, A Bronze Satyr by Cellini[J]. The Burlington Magazine, Vol. 124, No.952,406-412.
6、Kurt W. Forster, Metaphors of Rule. Political Ideology and History in the Portraits of Cosimo I de' Medici[J]. Mitteilungen des Kunsthistorischen Institutes in Florenz,15. Bd., H.1 (1971),65-104.
7、Rensselaer W.Lee. Ut Pictura Poesis:The Humanistic Theory of Painting[J]. The Art Bulletin,Vol.22,No.4(Dec.1940),197-269.
8、John R. Spencer. Ut Rhetorica Pictura:A Study in Quattrocento Theory of Painting[J] Journal of the Warburg and Courtauld Institutes,Vol.20, No.1/2 (Jan.-Jun.1957),26-44.
9、Martin Kemp. From Mimesis to Fantasia: The Quattrocento Vocabulary of Creation[J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),347.
10、Sharon Bailin. Invenzione e Fantasia:The(Re)Birth of Imagination in Renaissance Art[J]. Interchange, Vol.36/3,2005,257-273.
11、Fredrika H.Jacobs. An Assessment of Contour Line:Vasari,Cellini and the Paragone[J].Artibus et Historiae,Vol.9,No.18(1988),139-150.
12、L.Fusco. The Use of Sculptural Models by Painters in Fifteenth-Century Italy[J]. Art Bulletin,1982:175-94.
13、Sigismondo Dino Cervigni. Cellini's Vita:literary tradition and literary genre [D]. Indiana University,1975.
[2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:24.
[3] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:24.
[4] 恩斯特·克里斯,奥托·库尔茨.潘耀珠译,邱建华校.艺术家的传奇[M].杭州：中国美术学院出版社.1990：35-36.
[5] Nicolas Pevsner. The Term "Architect" in the Middle Ages. Speculum, Vol.17,1942:555.
[6] Spiro Kostof ed. The Architect:Chapters in the History of the Profession[M]. Berkeley:University of California Press,2000:76.
[1] 亚里士多德.苗力田主编,颜一,秦典华译.亚里士多德全集·第九卷[M].北京：中国人民大学出版社,1990：283.
[2] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：288.
[3] 朱狄.当代西方艺术哲学[Ml.北京：人民出版社,1994：4-5.
[4] 恩斯特·克里斯,奥托·库尔茨.潘耀珠译,邱建华校.艺术家的传奇[M].杭州：中国美术学院出版社,1990：35.[5] “安德里亚·德·卡斯坦尼奥是农夫之子,保罗·乌切洛是理发师之子,菲利普·利比和波拉约利则分别出自屠夫和家禽贩子家庭。他们都以父亲的职业称呼、自己的出生地或师傅的名字来取名,并常被当作仆人对待”。 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03)：26.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:381-390.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:367.
[8] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:329-340,1659-1670. [9] Jane Turner ed. Dictionary of Art(VI) [M]. New York:Grove,1998:139.
[1] Peter Burke. The Italian Renaissance:Culture and society in Italy[M]. Cambridge:Polity Press,1999:47.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:62.
[3] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:51.
[4] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:51.
[5] 张彦远.历代名画记·卷一[M].北京：人民美术出版社,1963：15.
[6] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：5.
[1] Martin Wackernagel, Alison Luchs trans. The World of the Renaissance Artist[M]. Princeton University Press.1981:301.
[2] Andrew Martindale. The Rise of the Artist in the Middle Ages and Early Renaissance[M]. New York: Mcgraw-Hill Book Company,1972:9-10.
[3] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：19.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:XXXV, XXXVI.
[5] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:2-3.
[6] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：4-6.
[7] 卡佩拉在其编纂的大词典中最先明确提出了自由七艺的体系即：语法、修辞、逻辑、算术、几何、天文、音乐。中世纪学者将其进一步划分为三文科(语法、修辞、逻辑)和四文科(算术、几何、天文、音乐)。保罗·奥斯卡·克里斯泰勒,邵宏译.文艺复兴时期的思想与艺术[M].北京：东方出版社,2008：175,177.
[1] 保罗·奥斯卡·克里斯泰勒,邵宏译.文艺复兴时期的思想与艺术[Ml.北京：东方出版社,2008：178.
[2] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:48.
[3] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：289.
[4] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：290-291.
[5] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：393.
[6] 亚里士多德.诗学[M].北京：人民文学出版社,1962：11-12.
[1] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:73.
[2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:75.
[3] 如琴尼尼在书中提到的想象、摹仿自然的观念。Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2,15. [4] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:64-65.
[5] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:19-30.
[1] 这里以诗代表诗歌、修辞、算术等自由学科,以画代表绘画、雕塑、建筑艺术等造型艺术。
[2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:165.
[3] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:165.
[4] Moshe Barasch. Theories of art:From Plato to Winckelmann[M], New York:Routledge2000:12.
[5] Noel Brann. The Debate of the Origin of Genius During the Italian Renaissance[M]. Leiden:Brill,2002: 77.
[7] 朱狄.当代西方艺术哲学[M].北京：人民出版社,1994：8.
[6] Michael Baxandal. Giotto and Orators[M]. Oxford:Clarendon Press,1971:100.
[8] 但丁,田德旺译.神曲·炼狱篇[M].北京：人民文学出版社,1997：125.
[1] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:164. [2] Moshe Barasch. Theories of art:From Plato to Winckelmann[M]. New York:Routledge,2000:167.
[3] Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:71.
[4] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:166. [5] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[6] Carroll Westfall. Painting and the Liberal Arts:Alberti's View. Journal of the History of Idea. Vol.30, No.4 (1969),506.
[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[8] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[9] “两者都关注作品的度量与主题的发明……画家与诗人一样需要表现主题的特性,两者的天赋与才能都在这一点上得到最大程度的表现”。Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971: 103.
[1] Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:97-98.
[2] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：9.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：17. Artistic Theory in Italy 1450-1660[M]. NY:Oxford University Press,1985:52.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[2] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.
[3] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社.2003：12.
[4] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:153.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:12.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：19.
[1] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：8.
[2] Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:88.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：17.
[4] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：44-45.
[5] “浅浮雕要求的构思,远比全浮雕为多,因而在构思的宏伟上更接近绘画。它利用了透视学,全浮雕则将它弃置一旁,利用直接测量”。列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：19.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：18.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:16-17.
Robert Klein & Hennri Zerner. Italian Art 1500-1600:Sources and Documents[M]. Evanston,1989:10-13.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:13.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:63.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：21.
[4] “在这些方面,雕塑家都得到自然的帮助。画家须要运用智力来学习光、影与透视,要把自己化身为自然,雕塑家则总是发现这些东西现成摆着。”列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社.2003：21.
[5] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W. W. Norton & Co,2002:59.
[6] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：18.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
Architects[M]. New York:Harry N. Abrams,1979:17.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:15-16.
[2] Anthony Blunt. Artistic Theory in Italy 1450-1660[M]. NY:Oxford University Press,1985:54.
131 Robert Goldwater, Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M]. London:John Murray,1981:66.
[4] Robert Klein & Hennri Zerner. Italian Art 1500-1600:Sources and Documents[Ml. Evanston,1989:15.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:14-15.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1739-1741.
[7] Nikolaus Pevsner. Academies of Art:Past and Present[M]. Cambridge University Press,1940:16.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:58-59.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:352.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:292.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:644.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:661.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:40.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:30.
[1] Benvenuto Cellini, C. R. Ashbee trans. The Treatises of Bevenuto Cellini on Goldsmithing and Sculpture[M]. London:Arnold,1888.
[2] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 172-173.
[3] 即恩培多克勒的四根说,他认为世间万物都是由四种最基本的元素即水、火、士、气构成的,这四种元素都是最基本的东西,它们按照不同比例构成了万事万物。北京大学哲学系外国哲学史教研室编译.西方哲学原著选读上卷[M].北京：商务印书馆,1981：44.(古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆.2012：9.
[4] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:137.
[5] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:140.
[6] Martin Kemp. From Mimesis to Fantasia:The Quattrocento Vocabulary of Creation [J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),356.
[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：10.Baxandall. Giotto and the Orators[M]. Oxford:Clarendon Press,1971:103.
[1] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:88.
[2] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:173.
[3] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:136.
[4] Martin Kemp. From Mimesis to Fantasia:The Quattrocento Vocabulary of Creation[J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),357.
[5] A. Manetti, H. Saalman ed. The Life of Brunelleschi by Antonio di Tuccio Manetti[M]. London:University Park,1970:108. [6] J. C. Hutchison. Albrecht Durer:A Biography[M]. Princeton,1990:120. C. Gilbert ed. Italian Art 1400-1500:Sources and Documents[M]. NJ:Englewood Cliffs,1980:97.
[7] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:170.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:233-235.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:233-235.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:16-17.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:91.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:167.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:81.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83-84.
[1] D. S. Chambers. Patrons and Artists in the Italian Renaissance[M]. London:1970:131-132.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23,46.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:41,55.
[5] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:185.
[6] M. Warnke. The Court Artist[M]. London,1993:44.
[1] 由于像章成本低且携带方便,因此“十六世纪的雕塑家常自发制作像章以争取可能的赞助人”。并且在这些作品中艺术家的个人签名清楚可见。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:120. Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:107.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:131-133.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1139-1140.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:148.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:302.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:302-304.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:187.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:144.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:115.
[2] 布鲁内莱斯基说：“不要与太多人分享你的发明(invenzioni),只与少数理解并热爱科学的人分享。过多地谈论发明和成果会贬低你的才华。”Martin Kemp. From Mimesis to Fantasia:The Quattrocento Vocabulary of Creation[J]. Inspiration and Genius in the Visual Arts,Viator,8(1977),351.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:238.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini [M]. London:Penguin Books,1956:238.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[2] 亚里士多德,苗力田主编.亚里士多德全集·第二卷[M].北京：中国人民大学出版社,1991：513-517.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 21.
[4] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 22.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:291.
[3] 西塞罗,石敏敏译.论神性[M].上海：上海三联书店,2007：85-86.
[4] 西塞罗,石敏敏译.论神性[M].上海：上海三联书店,2007：81.
[5] Leo Battista Alberti, Joseph Rykwert trans. On the Art of Building in Ten BooksCambrigde:The MIT Press, 7.1,122r.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:240.
[2] Harold Mattingly, Coins of the Roman Empire in the British Museum[M]. London:British Museum,1965.[3] 如瓦萨里指出列奥内·列尼为乔万尼·雅可波·美弟奇陵墓制作的一尊青铜雕像代表神意。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects [M]. New York: Harry N. Abrams,1979:2032. [4] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 30.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:240.
[6]Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:302.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:118.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:330.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:33.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:248.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:54.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:54.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:149.
[4] M. Kemp and M. Walker ed. Leonardo on Painting[M]. New Haven and London,1989:19.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books.1956:120.
161 Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:171.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:334.
[8] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:64,250,146.
[9] 之所以被称为伟大理论,是因为这一理论的主流性、古老性以及持久性。瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：130.
[1] 范景中,曹意强.美术史与观念史(Ⅲ)[M].南京：南京师范大学,2006：601.
[2] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：133.
[3] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：133.
[4] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：137.
[5] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：214.
[6] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：140.
[7] 指切利尼制作的瓶罐。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:55. [8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:239.
[9] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：135.
[10] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：135.
[11 ] 范景中,曹意强.美术史与观念史(Ⅱ)[M].南京：南京师范大学,2006：600.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:238.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:88-89.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:238.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:21.
[5] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:15.
[6] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：278.
[7] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：5.
[8] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:30.
[9] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harrv N. Abrams.1979:27. Books.1956:318.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:62-63.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[3] Leo BattistaAlberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:91.
[4] Giogrio Vasari. Gaston Du C. de Vere trans. Lives of the Most Eminent Painters. Sculntors and Architects[M]. New York:Harry N. Abrams,1979:771.
[5] 瓦迪斯瓦夫·塔塔尔凯维奇,刘文谭.西方六大美学观念史[M].上海：上海译文出版社,2006：300-301.
[1] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:55.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:58.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:133.229.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772. [6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books.1956:133.52.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:133,83,146.
[1] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:170.
[2] Benvenuto Cellini. Georee Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:171.
[3] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:14-15.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N.Abrams,1979:1978.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:29,32,41.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:29,32,34.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:53-54.
[1] J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:307.
[2] R. Weiss. The Renaissance Discovery of Classical Antiquity[M]. Oxford:Basil Blackwell,1969:53.
[3] V. D. Bisticci, W. George and E. Waters trans. The Vespasiano Memoirs[M]. London:University of Toronto Press,1963:399.
141 J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:359.
[5] J. Alsop. The Rare Art Traditions[M]. New York:Harper&Row Publishers,1982:404.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:92.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:92.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:94.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:120.
[2] Aby Warburg. Sandro Botticelice's Birth of Venus and Spring:An A Examination of Concepts of Antiquity in the Italian Early Renaissance, in The Renewal of Pangan Antiquity [M]. Los Angeles,1999:89-156.
[3] Rev ed. Coins of the Roman Empire in the British Museum Vol 2 [M]. London:British Museum,1968:no. 43.
[1] Philip Pray Bober, Ruth Rubinstein. Renaissance Artists and Antique Sculpture:A Handbook of SourcesLondon:Harvey Miller Publisher,1986:197.
[2] Whitman, T. Nathan and L. John. Roman Resurgens:Papal Medals from the Age of the Baroque[M]. An Arbor:University of Michigan Museum of Art,1981:18.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books,1956:381.
[4] “围绕着这些图案我刻了一行字:'Clauduntur belli portae'"。 Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:131.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Peng Books,1956:132.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:911.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:910.
[3] Ascanio Condivi, George Bull trans, Michelangelo:Life, Letters and Poetry [M]. England:Oxford University Press,1987:59.
[4] Giorgio Vasari, Julia Conaway Bondanella, Peter Bondanella trans. Lives of the artists, oxford,1991:471.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:30.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:84.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:111.310..
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:291.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:298.
[1] 如在第一章第二节提到的诗中切利尼称画家“用阴影欺骗灵魂,而任何一位优秀的雕塑家都不会这样做”。Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:52.
[2] Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:8.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:374.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:374.
[5] Margaret A. Gallucci, Paolo L. Rossi edited. Benvenuto Cellini:sculptor, goldsmith, writer [M]. New York:Cambridge University Press,2004:9.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2089.
[1] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社,2003：17.
[2] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:260.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:293.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:395.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:344.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:342.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:773.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:774.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:774.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:332.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:784.
[8] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:259.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Books,1956:269. Architects[M]. New York:Harry N. Abrams,1979:383.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1142.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:330.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2224-2225.
[6] “我开始使自己成为他这一行的专家,尽管困难很大。同时,虽然它给我带来很多麻烦,但我从来不厌倦,为了追求利益与知识,我始终勤奋工作”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52.
[7] “雇了许多工人后,我开始非常勤奋地工作,夜以继日,从未间断。因此,不久我便完成了朱庇特、武尔甘、和玛尔斯的泥塑,也做了许多朱庇特银像的工作,我的工作室看起来很像个样”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:259.
[8] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:30.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:32.
[2] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:33.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:32.
[4] 这是切利尼的青铜塑像《珀修斯》首次揭幕时贴于雕塑基座上的一首诗。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:48.
[5] Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
[6] “我不是那种想从你身上一下子捞到成千上万金币的人,相反,我只想靠我的劳动得到报酬”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books, 1956:330.
[1] Michelle O'Malley. The Business of Art:Contracts and the Commissioning Process in Renaissance Italy[M]. New Haven:Yale University Press,2005:100.
[2] 如基兰达约与斯佩达修道院长之间的合同明确规定画家“必须使用优质颜料上色,按要求用金粉绘制装饰物……背景天空必须使用4弗罗林一盎司的群青”。Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press, 1988:6.
[3] “艺术家劳动的手工业特点因艺术家从他们的雇佣者手中领取固定的工资而得到较为充分的体现。至于创作大型的艺术作品,所有开支——亦即材料费和工钱,甚至还经常包括助手和学徒们的膳食——均由雇佣者们负担,画师本人按工时领取报酬。工资制劳动在绘画行业中作为普遍采用的方法一直延续到十五世纪末；只有到后来,这种计酬方式才限于纯粹的手工艺活中,如修复和临摹”。阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03).
[4] 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术,1995(03).
[5] 如阿尔贝蒂在其《绘画论》中支持画家即使描绘金制品也不使用金粉而调用黄色与白色：“有些画家滥用金色,他们以及为这可以为绘画增辉。但我决不赞同他们的观点。即使我绘制维吉尔的迪多,她的金箭囊、挽起的金发、束衣袍的金扣环、驾车用的金缰绳以及所有金饰物,我都不会用金粉,而是调制黄色与白色来表现这一炫目的金光。之所以这么做不仅因为调制颜色可以为画家带来更多荣誉和赞赏,还因为当用金粉在平面上作画时,应亮的面显得暗淡,应暗的面却看起来更亮”。Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:85.
[6] Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press,1988:23.
[7] 正是这一低廉的价格和支付方式造成了多纳泰罗和赞助人之间的冲突。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams, 1979:436.
181 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
[1] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[2] “开始时我是自己写这本《自传》的,这从其中几页可以看出来,但由于写作太费时间,并且非常乏味,所以当我遇到米歇尔·戈罗的儿子,一个身体孱弱的十四岁男孩时,就把写作的任务交给了他。我在工作时向他口述我的生平,这样做效果很好,我工作起来更带劲,做出的作品也更多。所以我把写作的负担交给他,并希望能把我想得起来的故事继续讲下去”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
但有趣的是同是雕塑家的班迪内利则称笔比凿高贵。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:44.
[3] “我的好孩子’,他说,‘我也曾是一个好画师。但是为了艰苦劳动后的休息,为了把你带到世界上来并照顾你、培养你杰出天才的父亲,你能否答应偶尔吹奏笛子与小号做为消遣?”,Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:26.
[4] “我仍然每天去上音乐课,几周内在这一该死的艺术上有了很大进步。但是我在金银工艺方面的收获更大”。Benvenuto Cellini, trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London: Penguin Books,1956:23,25.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:332.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2235. [7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2242.
[8] Karl Frey. Der Literarische Nachlass Giorgio Vasaris vol 1 [M]. Munich:Georg Muller,1923:220.in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:40.关于这封信的讨论参见David Summers. Michelangelo and the Language of Art. NJ: Princeton University Press,1981:64.
[1] David Summers. Michelangelo and the Language of Art. NJ:Princeton University Press,1981:64-65.
[2] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2242.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2256.
[4] Bruno Maier ed. Opere[M]. Rizzoli, 1968:875.
[5] 切利尼对科西莫公爵的质疑所做的辩护详细论述了这一点：“优秀的雕塑家和画家为了君王的荣耀创作作品,其作品流芳百世,是城市美丽的装饰。因此,鉴于优秀作品的长久生命,难道您,勇敢杰出的君主,不希望它们制作得好一些吗?因为您的荣耀大多来自这些优秀的作品。因此,如果差别是将作品做得好或不好,那么需要的时间是两年还是三年就不再重要"。Bruno Maier ed. Opere[M]. Rizzoli,1968:875
[6] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press, 2002:216.
[1] 切利尼在自己的各类文学作品(自传、诗歌、论文)中都有对瓦萨里的抨击。如他在自传中称瓦萨里曾向公爵诽谤切利尼“曾向人吹嘘要同被公爵流放的人一起攻打佛罗伦萨,而我(切利尼)则第一个跳上城墙”。因此切利尼去向公爵澄清,此时瓦萨里正好经过,在切利尼的质问下,“乔尔乔(瓦萨里)匆忙溜走”。切利尼称这一诽谤是瓦萨里“对我对他做的许多好事的报答。说实话,我在罗马时招待过他,给他钱花,他却把我家搞得一团糟。这是因为他有干皮肤病,经常用手抓。他与我的一个叫曼诺的好脾气的工人睡在一起,他以为在抓自己却抓伤了曼诺的腿,他的脏爪子上的指甲从来不剪。曼诺离开了我并发誓要杀死他。我为他们两人调解,并为乔尔乔在美弟奇红衣主教那里找了一份工作,我始终以各种方式帮助他”。Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books. 1956:160-162.
[2] Girseppe Guido Ferrero ed, Opere di Benvenuto Cellini[M]. Turin:UTET,1980:352-353.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:146. [3] Giordano bruno, G. Gentile ed. Dialoghi Italiani[M]. Florence:Sansoni,1985II:986-987.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:145.
[4] Pontus de Tyard. Oeuvres:Solitaire Premier[M]. Geneva:Droz,1950:8-12. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:145.切利尼在法国期间(1545-15)很有可能接触到这一理论,详见Yates,59,77-94,131-134其中论述了大量切利尼的法国赞助人法王弗兰西斯一世时期法国作家关于狂热的观点。Frances Yates. The French Academies of the Sisteenth Centuty. London:Warburg Institute,1947.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:225-226.
[2] “轮廓常常是灵感的瞬间产物,虽然廖廖几笔,艺术家的理念已经表现出来；相反,如果从来不知何时该停止工作,那么过度的勤奋有时会使艺术家丧失创造力和判断力”。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979: 332.
[3] “珐琅是难度极大的手艺,因为在最后阶段火非常容易毁掉整个作品,但我仍全身心学习这一手艺。我发现这非常困难,但我仍以此为乐”。“我做了许多这样的徽章,尽管这是非常难做的活”。BenvenutoCellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52,63.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:315.326.327.341.344.363.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:366-367. Books,1956:373.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[2] 如瓦萨里记载雕塑家称“雕塑模仿真实的形式,表现物体的每个面、每个角度,而绘画只是平面上最简单的几笔,只有一种光、一个角度。”。切利尼也称“一座雕像有八个面,且每个面需一样好”。两者的论证方式并无实质性差别。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:13. Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:87.
[3] Robert Goldwater and Marco Treves. Artists on Art:From the 14th to the 20th Centuty[M].London:John Murray,1981:89-90.
[4] Michelle O'Malley. The Business of Art:Contracts and the Commissioning Process in Renaissance Italy[M]. New Haven:Yale University Press,2005:122.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:63-64.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:289.
[2] 皮埃罗·本博(1470-1547),“不仅是一位活跃于宫廷之中的大臣,后来也成为当时的文坛泰斗。”周式中,孙宏,谭天健等主编,何遂,李贵仓,于耀明等编写.世界诗学百科全书[M].西安：陕西人民出版社.1999：806-821.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:177.
[4] 现存的一封切利尼写给瓦尔基的信证实切利尼此言非虚。李瑜译.文艺复兴书信集[M].上海：学林出版社.2002：78-79
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:177.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:341.
[1] Bruno Maier ed. Opere[M]. Milan:Rizzoli,1968:870.引自Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:34.
[2] Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London: Cambrigde University Press,2004:33.
[3] 关于阿尔贝蒂的这一解剖理论对16世纪艺术理论与实践的影响参见Bernard Schultz. Art and Anatomy in Renaissance Italy[M]. Ann Arbor, MI:UMI Research Press,1985.
[4] Biblioteca Nazionale Centrale, Florence MS Palatino E.B.16.4, fol.40v. in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:33.
151 Paola barocchi. Scritti d'arte del Cinquecento. Vol.2[M]. Milan:Ricciardi,1973:1902. in Margaret A. Gallucci and Paolo L. Rossi. Benvenuto Cellini:Sculptor, Goldsmith, Writer[M]. London:Cambrigde University Press,2004:33.
[6] 切利尼所指的即是与阿尔贝蒂方法相同的,由骨骼开始(在切利尼这里确切地说是由一根小腿骨开始)的方法。Bruno Maier ed. Opere[M]. Rizzoli,1968:870.
[7] 正如简·泰勒斯所说：“切利尼最后的文字作品都试图将艺术家定义为团体的一员而不是一个个体,这一团体中的艺术家拥有制作知识和将这一知识传授给他人的能力,这使艺术家即使不是独立自足的,也至少是秘密‘智慧’的拥有者。由于拥有这一只显现于制作过程中的智慧,切利尼的读者就会确信艺术家有别于并且优于(至少切利尼是这么认为的)依赖艺术家制作美丽作品的赞助人”。Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:53.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:346.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:348.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:16-17.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:24.
[6] 布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：427.
[7] 当西塞罗等罗马作家的作品被重新发掘并深度研读后,其著作中的荣誉概念对文艺复兴时期荣誉观的发展起到了推波助澜的作用。布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：136.
[8] Guido Ruggiero. The Boundaries of Eros:Sex Crime and Secuality in Renaissance Venice[M]. New York, 1985:17-22.
[9] Guido Ruggiero."'More Dear to Me than Life Itself:Marriage, Honor, and a Woman's Reputation in the Renaissance," in Binding Passions:Tales of Magic, Marriage, and Power at the End of the Renaissance[M]. New York,1993:57-87.
[1] John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge, 1992:107ff.
[2] John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge, 1992:106.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:66-67,134,99,125,289.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M].New York:W.W. Norton & Co,2002:56.
[5] Giovanni Della Casa, Giancarlo Rati ed. Galateo overo de' costumi[M]. Rome,1993:43. in Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan.2003:120.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:135.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:124.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:333.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:365-367.
[1] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:161,166,173.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:258.
[3] 这里同样有捍卫城邦荣誉的原因。如切利尼说：“我之所以采取这么激烈的手段,是因为他对我说没有一个意大利人敢动他一根毫毛。当我扔完他的东西后,我对他说：‘我只不过是意大利最微不足道的一个人,比起我可以做的事情,刚才的事根本不值一提,如果你敢说一句话,就饶不了你”。BenvenutoCellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:275.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:271.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:77-78.
[1] 丹纳,傅雷译.艺术哲学[M].天津天津社会科学院出版社,2007：87-88.
[2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:123.
[3] 官方文件称乔凡尼死于“非常严重的热病”,但在乔凡尼之后14天去世的加齐亚的死因一直未有明确记载。Christopher Hibbert. The Rise and Fall of the House of Medici[M]. New York,1979:269.
[4] 丹纳,傅雷译.艺术哲学[M].天津：天津社会科学院出版社,2007：89.
[5] Felix Gilbert. Machiavelli and Guicciardini:Politics and History in Sixteenth-Century Florence[M]. New York.1984:118.
[6] Guillaume Bude, Annotations in pandectas[M]. Westmead,1966:68.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:136.
[8] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:56.109.316.
[9] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:247-248.
[1] 尼科洛·马基雅维里,潘汉典译.君主论[M].北京：商务印书馆,1986：120.
[2] 古典神话确实是这一暴力倾向最好的借口。早在奥维德的《爱的艺术》中这一暴力的占有就被明确地提出：“尽管她拒绝了他们,但仍要吻她。或许起初她会挣扎哭喊‘你这流氓!’但在挣扎中她将会希望被占有……吻她的男人如果不继续下去,就会失去本应得到的东西……你应该使用暴力：女人喜欢你用暴力……被暴力占有的女人感到幸福快乐……相反,本应被强暴却毫发无伤的女人……则黯然伤心。菲比和她的姐妹都被强暴：但每一个强暴她们的人都发现被他强奸的女人是愉悦的”。Ovid. Artis amatoriae 1.664-80. in J.H.Mozley trans. The Art of Love and Other Poems[M]. Cambrigde:Loeb Classical Library,1993:59.
[3] Egon Verheyen. The Palazzo del Te in Mantua:Images of Love and PoliticsBaltimore,1977:28-29.
[4] Jerry Lee. Vasari's Decoration in the Palazzo Vecchio, Ph.D.diss, University of North Carolina, Chapel Hill, 1973:164-77.
[5] Margaret D. Carroll. The Eros of Absolutism:Rubens and the Mystification of Sexual Violence[J]. Representations, No.25(Winter,1989),8.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 140.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:289.
[3] Jane Tylus. Writing and vulnerability in the late Renaissance. Stanford University Press,1993:50.
[1] Vincenzo Borghini. Dell'Arme delle familie fiorentine[M]. Florence:Festina Lente,1990:44. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:119. [2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:30-31.
[3] Aby Warburg, David Britt trans. The Renewal of Pagan Antiquity[M]. Los Angeles,1999:242.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15,383.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:389.
[2] 布克哈特,何新译.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：427.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 45.
[4] Pomponius Gauricus, edited by Andre Chastel and Robbert Klein. De Sculptura[M]. Geneva:DROZ,1969: 225. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 45.
[5] M. Kemp, M. Walker eds. Leonardo on Painting[M]. New Haven and London,1989:19.
[6] 如安德烈·戴·卡勒伯浇铸了多纳泰罗《加塔梅拉塔》的马匹和桑托祭坛的大多数青铜作品。
H.W. Janson. The sculpture of Donatello[M]. Princeton:Princeton University Press,1957:50.
H.W. Janson. The sculptured works of Michelozzo di Bartolommeo. Ph. D. diss. Harvard University.1941: 165.167.
[7] Bruce Boucher. The Sculpture of Jacopo Sansovino[M]. New Haven:Yale University Press,1991:145.
[8] Paola Barocchi ed. Scritti del Arte del Cinquecento[M]. Milan and Naples:Riccardo Ricciardi,1973: 391-392. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press, 2002:45.
[1] Benvenuto Cellini, "Libro di Benvenuto di m[aestro] Giovanni celljnj schultore intjtolato giornale segnjato A," Florence, Biblioteca Riccardiana, Codice Riccardiano,2788 fol 2v. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:47.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[3] 亚历桑德罗·拉斯奇卡提是位铸炮者,并熟悉塑像的浇铸。Marco Spallanzani.The Courtyard of PalazzoTornabuoni-Ridolfi and Zanobi Lastricati'a Bronze Mercury. The Journal of the Walters Art Gallery 37(1978): 7-21.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:348,341.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:105.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:264.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:265.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:266.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345-347.
[5] “公爵经常来看,他十分担心我不能成功地浇铸塑像,所以请几个专家来为我浇铸塑像”。“班迪内利使公爵相信尽管我已经成功浇铸出一两个塑像,但绝不可能浇铸出群像,因为这是一个我完全不了解的艺术……这些话对公爵很起作用”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:323-324,327.
[6] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:341.
[1] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：36-37.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:341.
[3] iny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:305,319.
范景中,曹意强.美术史与观念史(Ⅱ)[M].南京：南京师范大学,2006：606.
傅雷.世界美术名作二十讲[M].北京：三联书店,1985：49.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961:339.
[5]列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社,2003：35.
[1] Moshe Barasch. Theories of art Volumel[M]. New York:Routledge,2000:27.
[2] 如图上帝被表现为手拿圆规的建筑师形象,这一比喻最权威的来源是《圣经》,在《圣经》中上帝被比做教会的建筑师。圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：620.
[3] 列奥纳多·达·芬奇.戴勉译.达·芬奇论绘画.桂林：广西师范大学出版社.2003：12.
[4] Pliny, trans by Rackham. Natural History[M]. Mass:Harvard University Press,1961.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:387.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:434-435.
[2] 这首诗出自贝尔纳多们纳贝蒂1552年写给瓦萨里的一封信,见Paola Barocchi ed. Scritti del Arte del Cinquecento [M]. vol2, Milan and Naples:Riccardo Ricciardi,1973:1198-1200.关于这封信的评论见Kathleen Weil-Garris(Brant). On Pedestals:Michelangelo's David, Bandinelli'a Hercules and Cacus, and the Sculpture of the Piazza della Signoria. Romisches Jahrbuch fur Kunstgeschichte 20(1983):377-415.
[3] Francesco Bocchi. Le bellezze della citta di firenze[M]. Amsterdam:Demand Reprints,1984:35.in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:64.
[4] Vannoccio Biringuccio, Adriano Carugo ed. De la pirotechnia[M]. Milan:IlPolifilo,1977:BookI (n.p.). in Michael W. Cole. Cellini and the principles of sculpture New York:Cambridge University Press,2002:65.
[5] Giuseppe Guido, Ferrero ed. Bevenuto Cellini[M]. Turia,1980:945.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:342.
[1] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：2.
[2] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：46.
[3] 恩斯特·克里斯,奥拖·库尔茨著,潘耀珠译,艺术家的传奇[M].杭州：中国美术学院出版社,1990：52.
[4] Michael W. Cole. Cellini and the principles of sculpture New York:Cambridge University Press,2002:53.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:323.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:347.
[7] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini [M]. London:Penguin Books,1956:347.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 222.
[2] Giorgius Agricola. De la generatione de le cose, che sotto la terra sono, e de le cause de'loro effetti e natura. Venice:Michele Tramezzino,1550:66. in Michael W. Cole. Cellini and the principles of sculpturefMl. New York:Cambridge University Press,2002:51.
[3] Antonio Allegretti, edited by Mino Gabriele. De la trasmutatione de metalli[M]. Rome:Mediterranee,1981: 52. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 51.
[4] Vannoccio Biringuccio, edited by Adriano Carugo. De la pirotechnia [M]. Milan:IIPolifilo,1977:6r. in Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:52.
[1] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications,1960:205.
[2] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[3] (古希腊)柏拉图,王晓朝译.柏拉图全集第一卷[M].北京：人民出版社,2002：109.
[1] 北京大学哲学系编译.西方古典哲学原著选辑.古希腊罗马哲学[M].北京：三联书店,1957：178-179.
[2] “一方面我们说有多个的东西存在,并且说这些东西是美的,是善的等等……另一方面,我们又说有一个美本身,善本身等等,相应于每一组这些多个的东西,我们都假定一个单一的理念,假定它是一个统一体而称它为真正的实在。”北京大学哲学系编译.西方古典哲学原著选辑.古希腊罗马哲学[M].北京：三联书店.1957：178-179.
[3] (古希腊)柏拉图,王晓朝译.柏拉图全集第一卷[M].北京：人民出版社,2002：111.
[4] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[5] Paolo Rossi."Sprezzatura, Patronage, and Fate:Benvenuto Cellini and the World of Words." In Philip Jacks eds. Vasari's Florence:Artists and Literati at the Medicean Court. Cambridge:Cambridge University Press,1998:55-69.
[1] Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:299.
[2] “头脑中形成的某种概念,它能使我们清晰明确地识别任何事物,并在实践中与所意图的事物相一致。”Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:300.
[3] “以不具物质形态的形式勾画出的事物轮廓。’'Moshe Barasch. Theories of art Volume 1[M]. New York: Routledge,2000:301.
[4] 潘诺夫斯基.理念.引自范景中,曹意强主编.美术史与观念史(Ⅱ)[M].南京：南京师范大学出版社,2003：608.
[5] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[6] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications.1960:205.
[7] Giorgio Vasari, Gerard Baldwin Brown ed. Vasari on Technique[M]. New York:Courier Dover Publications,1960:205.
[1] (古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆,2012：2.
[2] (古希腊)亚里士多德,吴寿彭译.形而上学[Ml.北京：商务印书馆,2012：2.
[3] (古希腊)亚里士多德,苗力田主编.亚里士多德全集.第一卷[M].北京：中国人民大学出版社,1990：348.
[4] “医术不研究苏格拉底的健康问题,而研究这一类人或那一类人的健康问题,这个问题属于艺术(技术)的范围,至于个别的人则是数不清的,不是科学的对象”。罗念生.罗念生全集.第一卷[M].上海：上海人民出版社,2004：152-153.
“诗是一种比历史更富哲学性、更严肃的艺术,因为诗倾向于表现带普遍性的事,而历史却倾向于记载具体事件”。(古希腊)亚里士多德,陈中梅译.诗学[M].北京：商务印书馆,1996.81.
[5] (古希腊)亚里士多德,吴寿彭译.形而上学[M].北京：商务印书馆,2012：134..
[6] (古希腊)亚里士多德,廖申白译.尼克马可伦理学fM].北京：商务印书馆,2010：166.
[7] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772.
[2] “在比例上,他们缺乏某种好的判断力,这种判断力无须依靠测量,便可使艺术家笔下的形象在不同部分的适当关系中获得某种不能被测量的优雅”。Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:772.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation: an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:70.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:433.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:297.
[2] Robert Williams. Art theory and culture in sixteenth-century Italy:from techne to metatechne[M]. New York:Cambridge University Press,1997:48.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[4] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[5] “人总是从disegno那里获得好的考虑,不求助于它就不能完美地操作实践。”Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:124.
[6] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：68.
[7] “如果我不知道所有最伟大的技师对自然界奇妙作品的热衷不逊于制作源自disegno事物表现出的德行与杰出性,我就不会如此简洁地陈述,而是详细论述了。”Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002:124.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 126.
[2] (古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：68-69.
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 124.
[4] “制作不同于实践(我们甚至从普通讨论中也能看出这种区别),实践的逻各斯的品质同制作的逻各斯的品质不同。其次,它们也不互相包含。实践不是一种制作,制作也不是一种实践。”(古希腊)亚里士多德,廖申白译.尼克马可伦理学[M].北京：商务印书馆,2010：171.
[5] Robert Williams. Art theory and culture in sixteenth-century Italy:from techne to metatechne[M]. New York:Cambridge University Press,1997:49.
[6] Moshe Barasch. Theories of art Volume 1 [M]. New York:Routledge,2000:300.
[1] 潘诺夫斯基.理念.引自范景中,曹意强主编.美术史与观念史(Ⅱ)[M].南京：南京师范大学出版社,2003：627.
[1] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:23.
[2] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:160.
[3] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:159.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.
[1] 诸如此类的辩护意识在《自传》中多次出现,如“我认为现在我应该对这件事加以公正的、诚实的解释"。 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:320-321.209.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:321.
[3] “我一接到菲拉腊红衣主教的信,就马上写了回信,向他说明我对德·加迪红衣主教所说的事一无所知"。 Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:188.
[4] “然后当着众人的面我解释道,有个卑鄙的流氓对公爵说我吹牛要第一个登上公爵的城墙,并诽谤我说公爵的坏话。我说因此我就将生死置之度外,来向公爵解释,直至澄清这一可耻的诽谤”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:161.
[5] 忏悔录是西方自传传统的核心。据统计,西方继奥古斯丁之后,以忏悔录为自传名的作品“传世的估计有1000种以上”。如卢梭、托尔斯泰等的《忏悔录》。此外,还有许多富有忏悔意识的自传作品,如歌德的《诗与真》、富兰克林的《富兰克林自传》、纪德的《如果种子不死》、萨特的《词语》等。
赵白生.传记文学理论[M].北京：北京大学出版社,2012：218.
杨正润.现代传记学[M].南京：南京大学出版社,2009：328.
曹蕾.自传忏悔：从奥古斯丁到卢梭[M].北京：中国社会科学出版社,2012：1.
[6] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：30.
[7] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：1.
[8] 对比切利尼的观点：“我的诞生是多么使上帝感到高兴”。切利尼不但不认为自己的出生有罪,反而花大量笔墨描写了自己奇迹般的诞生,以突显自身与众不同的价值,如他借父亲之口所说：“上帝,我衷心地感谢你,这是一件伟大的礼物,我很欢迎(意大利语的发音为‘本威努托’,切利尼即以此为名)他”。奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：10.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:11.
[1] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：24.
[2] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：72.
[3] 奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：30-35.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:36.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:51.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:320.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:338.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:126.
[3] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:191.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:142-143.151.219.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:65-69.
[1] 圣经·新约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：114.
[2] 切利尼则一方面坚持不认罪,同时另一方面坚持真理在自己这里：“现在真理终于战胜厄运了!我向上帝祈祷,这是否是他的意志要救我出险”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:215.
[3] 圣经·新约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：268.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:309.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:38,48.
[6] “因为骄傲模仿伟大,独有你天主是凌驾一切之上；贪婪追求地位光荣,但尊荣永远是属于你的；有权势者的暴虐企图使人畏惧,但唯有你天主才能使人敬畏,一人在何时何地,用什么方法、凭借什么能越出你的权力?……妒忌妄想高人一等,但谁能超过你呢?”奥古斯丁,周士良译.忏悔录[M].北京：商务印书馆,2012：32-33.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:278.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:214.
[2] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:231.
[3] “同性恋是一种对同性所产生的性爱行为或感情。”“以同性为满足性欲的对象。”
王伟主编.中国伦理学百科全书·婚姻家庭伦理学卷[M].长春：吉林人民出版社,1993：175.
陈光中主编.中华法学大辞典·诉讼法学卷[M].北京：中国检察出版社,1995：576.
[4] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175.
[5] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:14.
[6] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:282.
[1] 圣经·旧约[M].上海：中国基督教三自爱国运动委员会,中国基督教协会,2008：111,113.[2] Guido Ruggiero. The Boundaries of Eros:Sex Crime and Secuality in Renaissance Venice[M]. New York, 1985:109.
[3] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York,1996:4.
[4] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175.
[5] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:175-176.
[6] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:177.
[7] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York,1996:449.
[1] “八人委员会利用黑豆和白豆进行投票表决,投票人秘密将豆放入杯中,其中秘书不参加投票。七粒黑豆代表罪行成立,七粒白豆代表罪行不成立”。John K. Brackett. Criminal Justice and Crime in Late Renaissance Florence 1537-1609[M]. Cambridge,1992:64.
[2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:153-154.
[3] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:234.
[4] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:179.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:189-190.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:191.
[7] 罪行、法庭、判决这些经历是创伤性的,被遗忘的可能性不大,如果它们未被提及,则更可能是刻意的隐瞒,因而是更值得探讨的问题。
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:282-331.
[2] “我嘲笑她那婊子的阴谋诡计,当着她的面问男孩：‘琴齐奥,你知道的,我曾对你做过坏事吗。’他哭着说没有……此时我已经非常生气,朝她吼道：‘你这不知羞耻的母狗。如果不是为了我的好声誉和你这个无辜的孩子,我早就把你杀了,我已经有两三次想拔剑。’”Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:324-325.
[3] 上帝之书《圣经》明确谴责了鸡奸罪,但这里切利尼却引用上帝作为论据,颇具讽刺意味。
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:338.
[5] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:31.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:39.
[7] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:134.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:45.
[2] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:59-60.
[3] Gregory Woods. A History of Gay Literature[M]. New Haven,1998:4,198.
[4] Mark Mitchell ed. The Penguin Book of International Gay Writing[M]. England:Harmondworth,1995: ⅹⅲ.
[5] http://calvin.usc.edu/-trimmer/famous names.html. Compiled by the American Library Association.
[6] Michael J. Rocke. Forbidden Friendships:Homosexuality and Male Culture in Renaissance Florence[M]. New York.1996:441.
[7] Alan Bray. "Homosexuality and the Signs of Male Friendship in Elizabethan England" In Queering the Renaissance[M]. Jonathan Goldberg ed. Duke,1994:55.
[1] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:66.
[2] 并不是罗伊·帕斯科所说的“最坦白的叙述”,也不是亨利锡所说的“像录音机般真实”。
Roy Pascal. Design and Truth in Autobiography[M]. London,1960:28.
John Pope-Hennessy. Cellini [M]. New York:Abbeville Press,1985:13.
[3] P.Barolsky论述了艺术家的暴躁性格。P. Barolsky. Michelangelo's Nose:A Myth and its Maker [M]. University Park,1990:119-122,141-144.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:24.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:36-38.
[2] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:163.
[3] 刑罚之所以这么重,是基于以下三个原因：首先,切利尼违反了第一次的判决。第二,是因为切利尼违反了之前与加斯康蒂签定的和平协定,佛罗伦萨法律对这一罪行的处罚是很严肃的,最轻者处以高额罚款,最重者即是死刑。最后,切利尼的攻击是武装袭击。所以综合以上三点,八大委员会做出了死刑判决。Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:163-164.
[4] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:99.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Ccllini[M]. London:Penguin Books,1956:100.
[1] Trevor Dean and K.J.P. Lowe. edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:169-170.
[2] 关于切利尼与荣誉的问题见P. Barolsky. Giotto'Father and the Family of Vasari's Lives, University Park, 1992:124-126.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:37.
[4] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:100-101.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:136.
[1] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998),801. [2] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:25-26.
[3] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:383,376-377.
[4] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:39.
[5] Dario Trento. Benvenuto Cellini[M]. Florence,1984:48.
[6] Giovanni Antonelli. "La magistratura degli Otto di Guardia a Firenze". Archivio Storico Italiano 112(1954),35.in Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:29.
[1] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy[M]. NY:Palgrave Macmillan,2003:28.
[2] 博尔吉尼对切利尼的敌意在米开朗琪罗葬礼事件中有鲜明体现。米开朗琪罗去世后,disegno学院准备为他举行一个隆重的葬礼,并推选出四个人负责葬礼事务,这四个人是：切利尼、巴托罗米奥·阿马纳蒂、布隆其诺和瓦萨里。但切利尼因不满葬礼组织者温琴齐奥·博尔吉尼将绘画放在灵柩台的右侧(被认为是尊贵的方位),而将雕塑放在左侧,所以与博尔吉尼及支持绘画的瓦萨里发生激烈的争执,最后愤然退出葬礼委员会。因此我们看到瓦萨里在《名人传》中这样记载：“本威努托·切利尼从一开始就身体不适,实际上他未参加葬礼的任何活动。”但这只是瓦萨里对这一事件的淡化,切利尼在期间发表的多首诗作否定了这一说法。Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:53.
Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M].
New York:Harrv N. Abrams.1979:1934-1941.
[3] Ruth Wedgwood Kennedy. Cellini and Vincenzo de'Rossis[J].Renaissance News 4, no.3(1951),36,
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:2089.
[5] Trevor Dean and K.J.P. Lowe, edited. Crime, society, and the law in Renaissance Italy[M]. New York: Cambridge University Press,1994:179.
[6] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:335.
[7] 诸如此类的对比有许多,如：“公爵大人,请注意,我可以在法国成功地完成那么多重要、困难的作品,唯一的原因是杰出的法国国王给予我慷慨的慷慨的津贴,提供我需要的工人……但是如果公爵大人给我泼冷水,不给我助手,那么我就做不出好的作品”,“现在我清楚地认识到离开法国的重大损失,在这里为这位佛罗伦萨君主工作,毫无前途”。Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:331,341-342,365.
[1] Benvenuto Cellini.trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:314.
[2] Lorenzo Belloto ed. Vita[M]. Guanda,1996:625,628.
Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:254,256. [3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:72.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:266.
[1] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:271.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:21.
[3] Musee de l'Elysee exhibition catalog:Lucie Galacteros de Boissier, Fortune, Lausanne,1981.
[4] Aby Warburg, David Britt trans. Renewal of Pagan Antiquity [M]. LosAngeles,1999:240,244.
[1] Frederick Kiefer. Fortune and Elizabethan Tragedy[M]. Pasadena, Calif.,1983:10-11.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books,1956:371.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:357.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:361.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:363.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:372.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:301.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:302.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:326.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:20.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:295.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:289.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:20.
[3] Derek Parker. Cellini:Artist, Genius, Fugitive[M]. Sutton Pub Ltd,2003:16-17.
[1] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 89.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:301.
[3] J·E齐默尔曼,张霖欣编译.希腊罗马神话辞典[M].西安：陕西人民出版社,1987：306.
[2] Chris Murray. Key Writers On Art[M]. London:Routledge,2003:85. Architects[M]. New York:Harry N. Abrams,1979:2073.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
[1] David Summers. Michelaneelo and the Laneuage of Art[M]. Princeton:Princeton University Press.1981: 216-217.
[2] Mary Weitzel Gibbon. Cosimo's Cavallo:A Study in Imperial Imagery. in Konrad Eisenbichler ed. The Cultural Politicis of Duke Cosimo I de' Medici[M]. England:Ashgate,2001:82.
[3] Karla Langedijk. Portrait of the Medici[M]. Florence:Studio per Edizioni Scelte,1981:139. Giuseppe M. Battaglini. Cosmopolis[M]. Multigrafica Editrice,1978:18-37.
[4] Peter Meller. Physiognomical Theory in Renaissance heroic Portraits. In The Reniassance and Mannerism vol Ⅱ[M]. Princeton:Princeton University Press,1963:67-68.
[1] John Pope-Hennessv. Cellini [M]. New York:Abbeville Press.1985:217. Books.1956:92.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin
[3] Michael W. Cole. Cellini and the principles of sculpture[M]. New York:Cambridge University Press,2002: 47.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:326.341.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:15.
[1] Cennino Cennini. The Craftsman's Handbook[M]. New York:Courier Dover Publications,1954:1-2.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:65.
[3] Yael Even. Lorenzo Ghiberti's Quest for Professional Autonomy[J]. Konsthistorisk tidskrift 57(1989):1-6. Richard Krautheimer, Trude Krautheimer-Hess. Lorenzo Ghiberti[M]. Princeton:Princeton University Press, 1983:306-314.
[4] Carl Goldstein. Rhetoric and Art History in the Italian Renaissance and Baroque[J]. Art Bulletin73(1991): 652. [5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and
Architects[M]. New York:Harry N. Abrams,1979:1833. [1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:19.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:365.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1858.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1875.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:325.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:364-365. Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1858.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1896-1909.
[8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:350.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:223-224.但丁,王维克译.神曲[M].北京：人民文学出版社,1983：490.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:277.但丁,王维克译.神曲[M].北京：人民文学出版社,1983：31.[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:368.
131 Ernst Cassier, Paul Oskar Kristeller, John Herman Randall ed. The Renaissance Philosophy of Man[M]. Chicago:University of Chicago Press,1967:224-225.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:40-41.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:290-291.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:120-130.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:363-364.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:98-100.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:168-169.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:76.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:99.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:109.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:127.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:188.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:193.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:207.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:230.
[4] Will Durant就借鉴了切利尼对保罗三世的描述：“他曾囚禁过的切利尼将他描写成一个‘既不信上帝也不信任何事情的人。”,Will Durant. The Story of Civilization[M]. New York:Simon an Schuster,1957:919.
[5] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:368.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:370.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:49.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:109.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:184.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:55.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:71.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:142.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:144.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:199.
[3] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:900-901.
[4] William J. Kennedy. Authorizing Petrarch[M]. New York:Ithaca,1994:84.
[5] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:968.
[1] Robert Durling. The Figure of the Poet in Renaissance Epic[M]. Cambridge,1962:216.
[2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:968.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:339.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1469.
[1] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:979-980.
[2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:980.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London Books.1956:364.
[4] Margaret A.Gallucci. Benvenuto Cellini:sexuality, masculinity, and artistic identity in Renaissance Italy. NY:Palgrave Macmillan,2003:60-61.
[1] Benvenuto Cellini, C. R. Ashbee trans. The Treatises of Benvenuto Cellini on Goldsmithing and SculptureLondon:Arnold,1888:ix. [2] Bruno Maier. Benvenuto Cellini[M]. Rizzoli,1968:628-630.
[3] 卜伽丘,方平,王科一译.十日谈[M].上海：上海译文出版社,2004：83-93.
[1] Benvenuto Cellini, Pietro Scarpellini ed. Vita, Trattati[M]. Gherardo Casini,1987:412.
[2] 这本书的技术内容对美弟奇王子来说是合适的。美弟奇宫廷尤其喜欢实证知识。科西莫·美弟奇热衷冶金学、植物学、炼金术、应用化学、药品制作。他有一间铸造厂专门用来做实验。弗朗西斯科和费迪那多继承了父亲的兴趣,同样着迷于科学知识,如建筑、机械、陶瓷、挂毯生产工艺、金匠、农业、水力、化学和数学。因此,在这一热爱科学知识的宫廷氛围中,提供类似的知识无疑有助于提升作者的宫廷地位,吸引更多的赞助。Paula Findlen. Possessing Nature. Museums, Collecting, and Scientific Culture in Early Modern Italy[M]. CA: University of California Press,1994:295. Suzanne B. Butters. The Triumph of Vulcan:Sculptors' Tools, Pophyry, and the Prince in Ducal Florence[M]. Florence:Olschki,1996:155,238-239,243,247.
[3] CristinaAcidini. Gherardo Spini[M]. Gonelli,1980:11.
[1] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：131.
[2] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：132-135.
[3] Baxandall Michael. Painting and experience in fifteenth century Italy:a primer in the social history of pictorial style[M]. New York:Oxford University Press,1988:114-117.
[4] 浙江美术学院编.艺术中的哲学[M].杭州：浙江美术学院出版社,1987：112.
[1] 阿·豪泽尔,朱琦译.文艺复兴时期艺术家社会地位[J].新美术.1995 (03)：27.
[2] Francis Ames-lewis. The Intellectual Life of the Early Renaissance Artist[M]. New Haven & London:Yale University Press,2007:30.
[3] Leo Battista Alberti, trans by Cecil Gray son. On Painting[M]. London:Penguin Books,1991:88.
[4] M. Kemp, M. Walker eds. Leonardo on Painting[M]. New Haven and London,1989:14.
[5] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：4.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:18.
[1] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:27-29,40,45,50,52,55,57,75,98. [2] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:52.
[3] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：12.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:29,50,56.[5] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：4-9.
[6] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：380.
[7] Anthony Blunt. Artistic Theory in Italy 1450-1600[M]. NY:Oxford University Press,1985:51.
[8] 柏拉图,郭斌和,张竹明译.理想国[M].北京：商务印书馆.1986：393.
[9] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52.
[1] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：135.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52-53.
[3] 列奥纳多·达·芬奇,戴勉译.达·芬奇论绘画[M].桂林：广西师范大学出版社,2003：35.
[4] 维特鲁威,高履泰译.建筑十书[M].北京：知识产权出版社,2009：9.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:52-53.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:44.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:83,275,374,376. [8] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:91.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:335.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:53,120,205,359.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:93.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:200-201.
[5] 切利尼还利用金匠的装饰能力将一位小伙子打扮成妙龄少女骗过了所有人。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:59-60.
[1] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:5.
[2] 保罗·奥斯卡·克里斯特勒,姚鹏,陶建平译.意大利文艺复兴时期的八个文学家[M].上海：上海译文出版社,1987：12-13.
[3] 彼得拉克也曾亲口承认了自己的基督教信仰：“我的心灵最深处是与基督在一起的”。保罗·奥斯卡·克里斯特勒,姚鹏,陶建平译.意大利文艺复兴时期的八个文学家[M].上海：上海译文出版社,’1987：12.布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：138.
[4] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:11.
[5] 虽然关于这件作品的归属未有一致的结论,但鉴于自传与他传的共同之处,《阿尔贝蒂自传》中塑造的形象的有效性,这一归属问题并不影响本文的分析。布克哈特也认为这部传记出自阿尔贝蒂之手。见布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：133.
[6] Self-Portrait of a Universal Man:Leo Battista Alberti. James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:480.
[1] Benvenuto Cellini, Julia Conaway Bondanella and Peter Bondanella trans. My Life[M]. Oxford University Press, 2002:5. Giuseppe Guido Ferrero ed. Opere di Benvenuto Cellini [M]. Turin:UTET,1980:59.
[2] Leo Battista Alberti, trans by Cecil Grayson. On Painting[M]. London:Penguin Books,1991:87.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:775.
[4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:326.
[5] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:570.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:383.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:441.
[8] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:436.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:23.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:28.41.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:133.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:255.
[5] Benvenuto Cellini. George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:373.
[6] Petrarch, Morris Bishop trans. Letters from Petrarch[M]. Bloomington-London:Indiana University Press, 1966:5.
[1] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:481-487.
[2] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:484,485,490.
[3] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross, Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:490.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:16.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:90.
[6] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:778.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1096.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1324.
[2] 切利尼的一位师傅对他说：“从你的诚实的脸上我可以看出你是一个善良正直的青年”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:28.
[3] 详见第四章。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London: Penguin Books,1956:338. [4] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:878.
[5] Self-Portrait of a Universal Man:Leo Battista Alberti. In James Bruce Ross. Mary Martin Mclaughlin eds. The Portable Renaissance Reader[M]. New York:The Viking Press,1953:489-490.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengui Books,1956:164-165,226,231.
[7] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:19.
[1] “上帝是爱真理的,他保护我,将我从多次大难中拯救出来”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:353. [2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:38,217-225.
[3] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:21.
[4] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:22.
[5] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:151.
[6] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:91.
[7] Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:91.
[1] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:967,1318.
[2] 布克哈特.意大利文艺复兴时期的文化[M].北京：商务印书馆,1979：138.
[3] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:273.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:93.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:304.
[6] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:58-61.
[7] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:531.
[8] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:713.
[1] “他尴尬地向前走去,带着布雷斯克口音结结巴巴地说了几句话,人们不可能见到比这更糕的表现了"。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books, 1956:168.
[2] 得体地交谈也是《廷臣论》中的重要内容,卡斯蒂廖内详细论述了完美廷臣应用什么语言交谈以及怎样交谈。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:169. Baldesar Castiglione, Daniel Javitch ed. The book of the courtier:the Singleton translation:an authoritative text criticism[M]. New York:W.W. Norton & Co,2002:80,40,45,52.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:780.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:51.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:23.
[3] “本威努托是我们这一行的骄傲。我们确实应该向他的作品和他本人磕头”。Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:171.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:374.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Rooks.1956:54.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:280.
[1] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:313.
[2] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books.1956:350.
[3] Giogrio Vasari, Gaston Du C. de Vere trans. Lives of the Most Eminent Painters, Sculptors and Architects[M]. New York:Harry N. Abrams,1979:1469.
[4] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Pengu Books.1956:331-332.
[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:331.
[1] Florence Biblioteca Riccardiana, Codice Riccardiano,2787:11v,27r,2788:3r,17v,21r,21v,18v,2789:3r.
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[3] Florence Biblioteca Riccardiana, Codice Riccardiano,2788:56v.
[4] Florence Biblioteca Riccardiana, Codice Riccardiano,2788:89v.
[5] Benvenuto Cellini,trans by George Bull. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:345.
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[1] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998).800.
[2] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998).800-801.
[3] Michael Cole. Benvenuto Cellini's designs for his tomb[J]. The Burlington Magazine, Vol.140, No.1149 (Dec.1998),801.
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[5] Benvenuto Cellini, George Bull trans. The Autobiography of Benvenuto Cellini[M]. London:Penguin Books,1956:380-381.
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