cause of my own innocence; and at all hours, sometimes in prayer and sometimes in communion with God, I abode in those high thoughts of Him. There flowed into my soul so powerful a delight from these reflections upon God, that I took no further thought for all the anguish I had suffered, but rather spent the day in singing psalms and divers other compositions on the theme of His divinity.
I was greatly troubled, however, by one particular annoyance: my nails had grown so long that I could not touch my body without wounding it; I could not dress myself but what they turned inside or out, to my great torment. Moreover, my teeth began to perish in my mouth. I became aware of this because the dead teeth being pushed out by the living ones, my gums were gradually perforated, and the points of the roots pierced through the tops of their cases. When I was aware of this, I used to pull one out, as though it were a weapon from a scabbard, without any pain or loss of blood. Very many of them did I lose in this way. Nevertheless, I accommodated myself to these new troubles also; at times I sang, at times I prayed, and at times I wrote by means of the paste of brick-dust I have described above. At this time I began composing a Capitolo in praise of my prison, relating in it all the accidents which had befallen me.[1] This poem I mean to insert in its proper place.
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- ↑ Capitolo is the technical name for a copy of verses in terza rima on a chosen theme. Poems of this kind, mostly burlesque or satirical, were very popular in Cellini's age. They used to be written on trifling or obscene subjects in a mock-heroic style. Berni stamped the character of high art upon the species, which had long been in use among the unlettered vulgar. See for further particulars Symonds' Renaissance in Italy, vol. v. chap. xiv.
