Gardner, Boston, he is perhaps less affected than most of his rivals by the degeneration into which Italian sculpture lapsed in the second and third quarters of the Cinquecento; but in comparison to the productions of the earlier Renaissance, or of his contemporary Michelangelo, his profound affection and admiration for whom form one of his noblest traits, he betrays too close a dependence upon the antique, a tendency to excessive nicety and elaboration, derived from his training as a jeweler but unsuited to the broader manner of monumental statuary, a leaning toward ostentatious and luxuriant decoration, and a fatal predilection for sacrificing æsthetic considerations to the display of virtuosity in composition and in processes. All these characteristics are exemplified in what remains from his work, and may also be read between the lines of the "Autobiography." The inclination to a display of skill is especially evident in the absorbing and famous description of the casting of the Perseus.[1] Over his whole art, as indeed over most of the art of the later sixteenth century, there broods a certain deadness and a sense of the perfunctory, which are strangely contrasted with the spontaneity that runs from his pen. The somewhat unjustifiable braggadocio about this phase of his activity arouses suspicions as to the veracity of the tales about his courage and other achievements. Some of the details, such as the worm that he vomited forth after his long sickness,[2] or the sight of the demons in the Colosseum,[3] seem hardly credible, but it must be remembered that we are dealing with a man of a high-strung, nervous temperament, whose imagination easily materializes the visions of his mind. Other episodes, like the various brawls and homicides in which he engaged, or the escape from the Castel Sant' Angelo, are improbable from our standpoint, but not in an epoch of extravagances like the Renaissance or for one of those supermen of Cellini's caliber, in which the period was so rich. Much of the "Autobiography" receives confirmation from contemporary documents, and its main fabric is certainly trustworthy, though highly colored, doubtless to increase its artistic worth and to set off to advantage the central figure of the writer.
I have spoken of Benvenuto as a superman, and herein, too, he is
