XXVI
It was not perhaps Cellini's fault that, having worked till past forty as a goldsmith, he should fail to produce an ideal statue at the first attempt. We ought rather to note with admiration his industry in the pursuit of this new aim, and the progress he afterwards made under great difficulties at Florence. His sojourn at Paris in the service of King Francis somewhat spoiled him as a man, but powerfully stimulated his energies as an artist. After his return to Italy, he was always more or less discontented with his lot; but he never ceased to be ambitious. From that last period of his active life (1545-1559) five eminent specimens of sculptor's work remain. One of these is the large bronze bust of Duke Cosimo, now to be seen in the Palazzo del Bargello at Florence. It is an unsympathetic and heavy piece of portraiture, but true to the character of the model. A second is the bust of Bindo Altoviti in the Palazzo Altoviti at Rome. Another is the antique statue in the Uffizzi, restored by Benvenuto for a Ganymede. He had to supply the head, arms, and part of the legs of this fragment. The marble, so far as I remember, is well wrought, but the motive of the restored figure shows a misconception of classical art. The boy's head, to begin with, is like some wax block in a barber's window—expressionless, simpering, and crisply curled. Then, instead of lifting the cup for Jove to drink from, this Florentine Ganymede teases a fawning eagle at his side by holding up a goldfinch for the royal bird to peck at. Before
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