The famous salt-cellar (saliera) of Benvenuto Cellini, executed in 1539-43 for Francis I.
At his court he installed Benvenuto Cellini, Francesco Primaticcio and Rosso del Rosso, but in the buildings at Chambord, St Germain, Villers-Cotterets and Fontainebleau the French tradition triumphed over the Italian.
One of his greatest successes was as Benvenuto Cellini, in which he displayed his ability both as an actor and as a sculptor, really modelling before the eyes of the audience a statue of Hebe.
Cellini, the great Florentine artist of the 16th century, has described it fully in his Trattato della Scultura.
Cellini, 1882), and Giovanni de Bologna in the latter part of the same century inherited to some extent the skill and artistic power of the great 15th-century artists.
In the time of Cellini this process was copied in Italy, and largely used, especially for the decoration of weapons and armour.
Among the works produced for the first time or rehearsed with a view to the furtherance of musical art were Wagner's Tannhduser, Der fliegende Hollander, Das Liebesmahl der Apostel, and Eine Faust Overture, Berlioz's Benvenuto Cellini, the Symphonie Fantastique, Harold en Italie, Romeo et Juliette, La Damnation de Faust, and L'Enfance du Christ - the last two conducted by the composer - Schumann's Genoveva, Paradise and the the music to Manfred and to Faust, Weber's Euryanthe, Schubert's Alfonso and Estrella, Raff's Kanig Alfred, Cornelius's Der Barbier von Baghdad and many more.
Ponzio and Cellini, who quitted Italy for France, found themselves outrivalled in their own sphere by Jean Goujon, Cousin and Pilon.
The title of Defender of the Faith, 1524 (this example being the work of Benvenuto Cellini); and of Francis I.
Our knowledge of the process and materials employed in niello-work is derived mainly from four writers,- Eraclius the Roman (a writer probably of the nth century), Theophilus the monk, who wrote in the 12th or 13th century,' and, in the 16th century, Benvenuto Cellini 2 and Giorgio Vasari.3 The design was cut with a sharp graving tool on the smooth surface of the metal, which was usually silver, but occasionally gold or even bronze.