as

it was found impossible to thwart his inclination, and he was accordingly permitted to work as a sculptor; and his earliest works in gold and silver, after the manner of the antique, were exhibited admirable productions. The elder Cellini, however, still bent on making his son a musician, removed him from the workshop of the manufacturer with whom he was employed, and made him apply closely to the art for which he had originally destined him. But though obedient to paternal command, the natural bent of Cellini's genius was too strong to be controlled, and at the age of fifteen he established himself with a goldsmith named Marcone. He also directed his attention to seal engraving, under the instruction of Lautizio, the ablest artist in that line; he likewise made ingenious maskeenings of steel and silver on Turkish daggers, and employed himself in cutting dies, medalling, and enamelling, in all of which he was eminently successful. At this time he was also inspired with an ardent desire to improve his style by witnessing some of the cartoons of Michael Angelo Buonarotti, which that great artist had recently finished. He was now employed by the dignitaries of the church, and was taken into the service of Clement VII., to whom some of his works had been exhibited. After engraving seals for the cardinals, which, it is to be observed, were not on stone, but on metallic substances of a large size, he struck a gold medal of the pope, which obtained great applause. The proportion of gold, however, exceeding the current standard, all the medals were speedily melted down, the avarice of the owners proving too strong for their admiration of a work of art, and thus exemplifying the wisdom of the ancients, who designedly chose for the substance of their medals the baser metals, well knowing that gold and silver would soon disappear. Other coins and medals which Cellini struck for the same pontiff are said to have rivalled, if they did not surpass, the genuine productions of antiquity. The artist himself invariably testified a preference for the manner of the ancients; and some of his minor works having occasioned disputes among the cognoscenti whether they were antiques or not, the matter was frequently referred to Cellini himself. In consequence of being engaged in an affray he was banished from Florence, and retired for a time to Sienna. He afterwards went to Rome, where he met with great encouragement

in his art. He returned, however, to his native city, and had every prospect of professional success, when, his ardent temper leading him into a quarrel, in which he severely wounded his antagonist, he found it necessary to disguise himself as a friar, and make his escape to Rome. It appears that he still cultivated music, for pope Clement VII. was so well pleased at hearing him play at a concert, that he took him into his service, in the double capacity of artist and musician. During the course of a war in which the pope was involved, the successes of the French encouraged them to march towards Rome. On this occasion Cellini showed that he possessed other talents than those of a mere artist; he distinguished himself in arms, and was especially serviceable as an engineer. On the approach of the French forces, all the inhabitants of Rome took up arms; and Cellini, having raised a company of men, led them to an attack against the constable duke of Bourbon, who was attempting to scale the walls. On the discharge of a piece of ordnance pointed by Cellini, the duke fell. But notwithstanding the confusion occasioned by this disaster the French forced their way into the city, and in the general retreat which was made towards the castle of St. Angelo, the pope had barely time to escape from the Vatican. Cellini still stood to his gun, and pointed it with such precision, that at the next discharge the prince of Orange was slain as he was riding along the trenches. In the presence of the pope also he killed a Spanish colonel, who had formerly been in the papal service; on which occasion the pontiff gave him absolution from homicide. Alarmed lest they should fall into the hands of the besiegers, Clement laid all his regalia and a large quantity of jewels belonging to the apostolical chamber before Cellini, and commanded him to take out the precious stones, and instantly to melt down the gold. Accordingly each jewel was wrapped in paper, and sewed in the garments of the pope, and a furnace being got ready, a hundred pounds weight of gold was obtained from the regalia. An accommodation having taken place between the French and the pontiff, Cellini returned to Florence, and having made his peace with the magistrates of that city, exercised all his genius upon a gold medal, with the device of Hercules tearing open the jaws of the Nemean lion. Michael Angelo, on beholding it, declared

that his manner was altogether original, and recommended him for the execution of another medal, in which he was equally successful. The subject of this was Atlas supporting the sphere, represented by a globe of crystal, with the Zodiac depicted on a field of lapis lazuli. He next proceeded to Mantua, and, through the interest of his friend Julio Romano, the painter, was noticed favourably by the duke; but some indiscretion obliged him hastily to quit Mantua, and he again returned to Florence. At the pope's invitation Benvenuto again went to Rome, where he met with great encouragement, and, among other distinctions, received the appointment of engraver to the mint and mace-bearer to his holiness. Not satisfied with these favours, he solicited another appointment, which was refused, from a persuasion, grounded upon his well-known disposition, that he would neglect his art if he obtained an office of great emolument. In consequence, however, of the ill offices and calumny of one Pompeo of Milan, he lost his place, and was even arrested for refusing to give up a work he was engaged upon. Having quarrelled with one Benedetto, whom he wounded severely, and being denounced moreover as having killed one Tobia, of Milan, the pope issued orders to have him apprehended, and executed on the spot; but he contrived to make his escape, and succeeded in reaching Naples. He was kindly received by the viceroy, who wished to keep him in his service, but Cellini quitted Naples, and, under cardinal Ippolito de' Medici's protection, returned to Rome, and obtained the pope's pardon. In 1534 his great patron, pope Clement VII. died; but Benvenuto's well-known talents had now secured him many liberal and powerful friends. He says, in his life of himself, that on his return from St. Peter's, where he went to kiss the feet of the dead pontiff, he met Pompeo, who had falsely accused him of the death of Tobia of Milan, and that a quarrel ensued, which ended in his killing his adversary; but he adds, exultingly, he was protected from any evil consequences by the interest of his patrons, the cardinals Cornaro and Medici; and Paul III. the new pope, desiring to have him in his service, gave him his pardon, and also reinstated him in his situation of engraver to the mint. On the arrival of intelligence that Charles V. had made a successful expedition against Tunis, Cellini was ordered to make, among other things, a cover for a prayer-book, valued 161

VOL. VI.

at six thousand gold crowns. About this time he unfortunately excited the enmity of Pier Luigi, the pope's natural son, who endeavoured to have him assassinated; but Cellini, having intelligence of the design, made his escape to Florence, where the grand duke received him with every mark of kindness, and appointed him master of the_mint. The pope, however, anxious to have him in Rome, sent to invite him back, and Cellini again ventured to establish himself in that city, where he remained till he was recommended to try his native air as the only means of recovering from a severe illness. He returned, however, to the pope's service, and was appointed to carry the presents which were made by his holiness to the emperor Charles V. on his visiting Rome. Cellini some time after this resolved to visit France, and passing through Padua, visited cardinal Bembo. On arriving in France, he was most graciously received by Francis I., who offered to take him into his service; but being seized with illness, he felt a dislike to the country, and returned to Rome by Ferrara, where he was honourably treated by the reigning duke. He was now to undergo a severe trial; for, on arriving at Rome, he was accused by his servant of having robbed the castle of St. Angelo, during the war, of immense treasures, which led to his arrest and imprisonment. At length, with great ingenuity, and after considerable difficulties, he effected his escape from the top of the lofty tower in which he was kept, and proceeded to the mansion of the duke Ottavio Farnese, who received and concealed him for some time; but the duke being afterwards induced to deliver him up to the pope, he was committed a second time to prison, where he was treated with the greatest severity. At a banquet at which the pope entertained the cardinal of Ferrara, on his return from the court of France, his eminence succeeded in procuring Cellini's pardon and enlargement, upon which he immediately finished a fine cup for the cardinal, and employed himself in other works; as a Venus and Cupid, Amphitrite and Tritons, and especially a gate for the palace of Fontainebleau. He accompanied the cardinal back to Paris, where he met with a gracious reception from the king; but, being offered by the cardinal what he conceived too low a salary for his work, he left Paris abruptly, intending to make a pilgrimage to Ĵerusalem, and had even proceeded some

M

way, when he was overtaken by those sent in pursuit of him, and brought back to Francis I. The king settled a handsome salary upon him, and gave him an order to make various large statues for him in silver, especially a Jupiter, with a magnificent bronze pedestal, bearing, in relief, representations from fabulous history. But he had now the misfortune to offend madame d'Etampes, the king's favourite, who did all in her power to excite the sovereign against him. With this view she encouraged Primaticcio, who was then at the court of France, and set him up as a rival to Benvenuto. He was also engaged in a law-suit; but finding himself, as he says, much troubled and persecuted by the delays of the law, he had recourse to his sword, which intimidated his adversaries, and put an end to the suit. The favourite still continuing to persecute him, he begged permission of the king to leave France. On his return to Florence the grand duke Cosmo de' Medici received him with marks of attention, and gave him a studio to exercise his profession in, where he commenced his celebrated Perseus, in bronze, to ornament the grand square in Florence; but being offended at some conduct of the grand duke's servants, he went to Venice, where he made the acquaintance of Titian, Sansovino, and other celebrated artists. Returning once more to Florence, he proceeded, though slowly, for want of means, with his Perseus, which at last he finished, amidst the acclamations of the city. On the duke's declaring war against the inhabitants of Sienna, Čellini was employed to repair the fortifications of Florence.

He was now engaged upon many important works. At a late period of his life he had testified a desire to be employed on a stupendous block of fine marble, which had been purposely quarried for a statue of Neptune. The contest between him and Bandinelli for the execution of this statue is well known: it is said that the chagrin occasioned by the preference given to Cellini's design caused the death of the rival sculptor. Notwithstanding this, the duchess, who was Benvenuto's enemy, prevented his having the work, and it was given to Ammanati. He had soon after an opportunity of regaining the duchess's good opinion, by presenting to her and the duke a marble crucifix, a work mentioned and highly extolled by Vasari, in his Life of Cellini. He was about this time invited by Catharine de' Medici to go to France, to super

intend a monument to the memory of her husband, Henry II., but the grand duke desiring to retain him in his employment, the queen dowager relinquished her proposal, and Cellini did not again quit Italy. He died at Florence, on the 13th of February, 1570, and was buried with great pomp in the church of the S. Annunziata.

The works of Benvenuto Cellini may be divided into two classes. The first, for which he is most celebrated, comprises his smaller productions in metal, the embossed decorations of shields, cups, salvers, ornamented sword and dagger hilts, clasps, medals, and coins, in which he showed great skill in composition, and excellence in the details of execution. The second includes his larger works, as a sculptor; and a reference to his bronze group of Perseus, with the head of Medusa, in the Piazza del Gran' Duca, in Florence, will be sufficient to illustrate his merit in the higher walk of his art.

The life of Benvenuto Cellini, written, in Italian, by himself, is a narrative replete with entertainment. It was not published until long after his decease. Cellini's vanity and self-satisfaction, displayed throughout the work, are excessive and highly ludicrous; and, candid or reckless, he does not disguise the excesses into which an ardent temperament and ungoverned passions too frequently urged him. The best edition of Cellini's life is entitled, Vita di Benvenuto Cellini da lui Medesimo Scritta, &c. &c. da Gio. P. Carpani, with valuable notes, 2 vols, 8vo, 1812. There is a translation into English by T. Roscoe. Cellini also wrote a treatise on various branches of his art. This is highly praised by Vasari, and it certainly bears incontestable evidence of comprehensive genius and originality. It is divided into two parts; in the first of which he treats of jewellery, enamelling, coining, the art of making gold and silver vases, and silver statues larger than life; the second part is dedicated to details on the mode of casting statues in bronze, on the qualities of marble for statuary, the fabrication of colossal figures, and a discourse on the art of design. The original of these works is very rare in England.

CELS, (James Martin,) a French botanist, born at Versailles, in 1745. Having been early introduced into the office of one of the farmers-general, he acquired the once lucrative place of receiver. Amidst the duties of this office he found leisure for study, and became

so fond of books, as to attempt a new arrangement of libraries, which he published in 1773, under the title of Coupd'œil éclairé d'une grande Bibliothèque à l'Usage de tout Possesseur de Livres, 8vo. He had also a taste for the study of botany, and formed an extensive botanical garden. When the revolution took place, he retired to the village of Montrouge, near Paris, where he devoted himself to the cultivation and selling of plants. The principal works on descriptive botany which have appeared in France, as those of Heretier, De Candolle, Redouté, &c. have been indebted to his assistance. Ventenat published the Description des Plantes rare du Jardin de M. Cels. Cels died in 1806.

CELSIUS, (Olaus,) a learned divine, orientalist, and botanist, of Sweden, born in 1670. He is known for his laborious investigations respecting the nature and properties of the plants mentioned in Scripture; in these researches his profound acquaintance with Arabic has given him a superiority over Ursinus, Lemnius, Barreyra, Castell, and others. On this subject he published, from time to time, seventeen dissertations, the first of which appeared in 1702, and the last in 1741; all of which he collected and published, in one work, with the title, Hierobotanicon, seu de Plantis Sanctæ Scripturæ Dissertationes breves, Upsal, 1745, 1747; Amsterdam, 1748, 8vo. He was not only the founder of natural history in Sweden, but was the friend and patron of Linnæus, who has testified his gratitude to his earliest benefactor by giving the name of Celsia Orientalis to a species of plant. Celsius published numerous dissertations on theology, history, and antiquities; the principal of which are:-De Linguâ Novi Testamenti originali, Upsal, 1707, 8vo. De Versionibus Bibliorum Sueo-Gothicis, Stockholm, 1716, 8vo. De Sculpturâ Hebræorum, Upsal, 1726, 8vo. De hodierno Statu Ecclesiæ Armenorum, ib. 1726, 8vo. This eminently learned and pious man, whose modesty led him twice to decline the archbishopric of Upsal, died in 1756.

CELSIUS, (Andrew,) a Swedish astronomer, born at Upsal, in 1701. After travelling, for his improvement in the science, in England, Germany, and Italy, he visited Paris, in 1733, and was appointed, by count de Maurepas, to accompany Maupertuis, Clairaut, Camus, Lemonnier, and Outhier, in their wellknown astronomical mission, in 1736, to the polar circle, to ascertain the figure of the earth. His great reputation obtained

for him the honour of being made member of the academies of Stockholm and Berlin, of the Royal Society of London, the institute of Bologna, and other learned bodies. He was at last made secretary of the Royal Society of Upsal, and died in the prime of life, in 1744. Among his numerous publications is a singular paper, in which he labours to prove that the waters of the ocean are undergoing a gradual diminution of volume; an opinion which has been adopted from him by Linnæus, and other learned men, and is still a subject of dispute.

CELSO, (Minosse,) or MINIO CELSI, a native of Sienna, of the sixteenth century, respecting the fact of whose existence there was at one time a difference of opinion; but Schelhorn, in his Amonitates Litterariæ, tom. vii. and in a special dissertation on the subject, entitled, De Mino Ceso, has demonstrated that he was a real personage. Having embraced the principles of the Reformation, he fled to Basle, where he acted in the capacity of corrector of the press in the printing office of Peter Perna. He wrote a long and elaborate argument against religious persecution, entitled, De Hæreticis Capitali Supplicio non Afficiendis, published in 1584, Basle, 8vo. This able treatise was at first attributed to Beza. It was originally written in Italian, and was published under a different title, in 1577. Daniel Zwicker put forth a Latin version of it in 1662, under the title of Henoticum Christianorum.

CELSUS, (Marius,) a distinguished Roman officer, in the reign of Nero. He was legate of the fifteenth legion in Pannonia; and at the death of the emperor was designated consul, and became the favourite of Galba, and soon after was received among his most intimate friends by Otho, who appointed him to a command in the war against Vitellius, in which he acted conjointly with Suetonius Paullinus. In the battle of Bebriacum he commanded the cavalry; but his salutary advice to Otho, to protract the war, having been overruled, the Vitellian party were victorious in the next engagement. Celsus retained his consulship under Vitellius; but we have no further particulars concerning him either in Tacitus or Plutarch.

CELSUS, (Aurelius Cornelius, or, according to the MS. of the Vatican and the Aldine edition, Aulus Cornelius,) appears to have lived at Rome about the time of Augustus or Tiberius. His profession is involved in much obscurity,

in consequence of the variety of subjects which occupied his pen. An ancient scholiast of Juvenal informs us that he was author of seven books on rhetoric; and, according to Quintilian, he wrote on laws, history, philosophy, military affairs, and on agriculture. The treatise on medicine is the only work of his extant; and although we have no evidence that he practised the art as a means of living, yet there are passages in the work which show that he was experimentally acquainted with the subject. His treatise, De Medicina, is in eight books. The first gives a brief account of the history of medicine, and of the regimen suited for various constitutions; the second is on prognosis and diet; the third is on the treatment of general diseases by diet; the fourth is on the treatment of topical diseases. In these four books he directs the method of using exercise, frictions, baths, and fomentations. He enjoins abstinence at the commencement of most diseases, but afterwards directs food in moderate quantities. He copies Hippocrates in his prognosis, and, in fact, often translates him word for word; which has caused him to be called the Latin Hippocrates. He, however, is fully entitled to be ranked as an eclectic. Thus, in opposition to Hippocrates, he rejects the doctrine of the critical days; and he also directed bleeding in many cases, contrary to his authority. He used cupping-glasses, both with and without scarification; but does not mention leeches, although they had been used by Themison. The fifth book treats of medicines, and diseases to be treated by them; and the sixth, of the treatment of local diseases by medicine. Of the numerous remedies contained in these books, the greater number are external applications. Among the internal medicines are compounds of opium and aromatics; and especially the famous Mithridate, said to have been invented by the king of Pontus, who by means of it rendered himself poison proof. The seventh and eighth books treat of surgery, and prove that this branch of the healing art had arrived at a high degree of excellence, as has been, indeed, amply shown by the surgical instruments lately found at Pompeii. His mode of practising lithotomy is that adopted by Rau, and which a modern author (Allan, Surg. Dict.) recommends in all cases where the patient is under fourteen. His anatomy is evidently derived from dissection of the human subject. Among many

remarkable facts contained in these books we learn that the Roman physicians sent their consumptive patients to Alexandria; and we have accounts of the following operations, viz. that for cataract by the needle (lib. vii. 7); the treatment of goitre, both by caustic and extirpation (vii. 13); tapping in ascites (vii. 15); the restoration of the prepuce to the circumcised, which was an operation in demand in order to avoid the imputation of being a Jew (vii. 25); the employment of the catheter (vii. 26); manual delivery, in cases when the child is dead (vii. 29); and the elaborate treatment of fractures and dislocations (viii. passim). The style of the work is elegant, and has the purity of the Augustan age. It contains the most complete account now extant of the sects of physicians, and of their opinions. Much also is to be learned from it respecting the weights and measures of the Romans, and many other particulars relating to their domestic economy. It is undoubtedly the most complete body of medicine derived from the ancients, and, as a concise and systematic work, has been compared to the Institutes of Justinian, while its author has justly received the title of the Medical Cicero. The editio princeps of Celsus is that of Nicholaus, Florent. 1478. The most esteemed editions are—that of Targa, Padua, 1769, in 4to; also Leyden, 1785, 4to; that of Kranse, Leipz. 1766, 8vo; and that by Dr. Milligan, Edin. 1831. Celsus has been translated into all the modern languages of Europe. The English translation is by Dr. Grieve, published with notes, London, 1756, 8vo.

CELSUS, an Epicurean philosopher, who flourished in the second century, and is known as one of the early and most bitter opponents of Christianity. Of his personal history nothing is known, but it is probable that he was a man of some celebrity, as Lucian has dedicated to him his Pseudomantis. He wrote a violent invective against the Christian religion, under the title of Aoyos aλnons, "The True Word," which was answered by Origen with great ability, in a work consisting of eight books, in which are preserved the only portions extant of the work of Celsus. It is admitted that he was a most subtle adversary, perfectly versed in all the arts of controversy, and as learned as he was ingenious; so that it is no wonder if the primitive Christians thought nothing less than such a champion as Origen a match for him. Although he sometimes recurs to Platonic and