speaking of the Perseus, which is Cellini's masterpiece, I must allude to his Crucifix in white marble. This he esteemed one of his best productions, and we have abundant evidence to prove that folk in Florence were of his opinion. It still exists in the Escorial, whither the Grand Duke sent it as a present to Philip II. of Spain. Not having seen the Crucifix, I can pass no judgment on its artistic quality or value as a piece of Christian sculpture.[1]
XXVII
Cellini's most substantial title to fame rests, and must always rest, upon his Perseus, that dramatic bronze so superbly placed upon its pedestal in the Loggia de' Lanzi, fronting the great piazza of Florence. Until quite recently this statue stood in close proximity to Michel Angelo's David. It still challenges comparison with Donatello's Judith, the Hercules and Cacus of Bandinelli, Ammanati's Neptune, and Gian Bologna's Rape of the Sabines. Surrounded by these earlier and contemporary performances of the Florentine school, the Perseus holds its own with honour. It lacks, indeed, the severe pregnancy and sombre reserve of Donatello's style. It misses the athletic simplicity and massive strength of Michel Angelo's hero. But it has something of fascination, a bravura brilliancy, a sharpness of technical precision, a singular and striking picturesqueness, which the works of those elder masters want. Far above Gian Bologna's academical
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- ↑ The fine engraving of this crucifix in Plans book (planche xx.) suggests that Cellini aimed at a realistic representation of physical exhaustion.
