246:. Moreover, the style popular in Florentine courts inspired Cellini as well: the sumptuous material of gold and enamel, the female figure's relatively slender proportions, attention to details, and the mastery of execution. Depicted in the nude, the two central figures juxtapose one another, seemingly confronting each other face-to-face. The sea is representative of the male figure, Neptune, reclining beside a ship that functioned as a salt holder. The figure wields a trident in his right hand, while encompassed by sea horses, fish, shells, and other sea creatures that symbolize his godly connection with the ocean. The animals utilized in this work functioned as common iconographic symbols of antiquity.
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left foot, which was the personal emblem of
Francis I. Cellini further added more allegorical motifs to represent the court such as the king's coat of arms, an elephant, and lilies. In the end, the classical elements—earth, water, air and fire—are all showcased in the work. Moreover, the sculpture was designed to illustrate the all-encompassing order of the cosmos and of the small microcosm of the world.
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207:. The Cellar was not only magnificently crafted, but it also served an important political role for Frances I and his court in the 1540s. The Saliera was designed to be the artistic symbol of the French king's domestic and international policies. The substantial power of the court is demonstrated through access to rare condiments such as salt and pepper that had been of great interest to Europeans.
168:) and in his autobiography. The work is the only extant gold sculpture by Benvenuto Cellini and is most famous of extant gold sculpture work to survive from the Renaissance. Ultimately, acting as a paradigm for 'renaissance gold smithery,' the sculptor showcased the multifaceted meanings of small objects of the era.
203:(Cristoforo Foppa). He noticed that Caradosso would, "make a little model in wax of the size he wished his work to be." Eager to make an art piece more grand and dissimilar than Caradossos', Cellini utilized the idea of making a wax model. The end product was based on a model that Cellini had originally created for
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at that time due to reconstruction works. The thief set off the alarms, but these were ignored as false, and the theft remained undiscovered until 8:20 am. The museum offered a reward of €1,000,000 for its recovery. The cellar was recovered on 21 January 2006, buried in a lead box in a forest
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in
Florence. Alongside the times of day are the primary winds. Signifying these winds of the cardinal direction are male youths located on the base, they are shown with expanded cheeks in the act of blowing billows of air. Fire is symbolized by the salamander located underneath the heel of Tellus'
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that the price for the completed sculpture was 1,000 scudi. Many other
Renaissance goldsmithery works, including several made by Cellini (known to us solely because of his descriptions in his autobiography), were melted down. This piece was almost melted down and destroyed in 1562, but managed to
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The earth, embodied by the female figure, Tellus, is depicted alongside a temple that serves as a receptacle for pepper. In contrast with
Neptune, Tellus caresses her breast as a symbol of fertility emitting, "plenty adorned with all the beauties of the world." The horn she carries in her draped
346:. The thief, Robert Mang, turned himself in after police released surveillance photos of the suspect which were subsequently recognized by acquaintances. Mang was sentenced to 4 years in prison for the theft. The sculpture is insured for an estimated $ 60 million (approx. $ 68.3 million in
191:(r.1537-1569). While living at the French King's court, Cellini made the salt cellar, along with the assistance of five other artists (two from Italy, two from France, and one artist from Germany). Cellini reported in his
227:. The gold is not cast in a mold, but instead hammered by hand into its delicate shape. It stands about 10 1/2 inches tall with a base about 13 1/8 inches wide and features bearings to roll it around on a banquet table.
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right hand, signifies her association with nature, and the natural elements, while simultaneously showcasing her "fertility" and "wealth." The temple beneath her arm is designed to house the pepper.
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Functioning as more than just an expensive condiment holder, the cellar aimed to catapult conversation among intellectuals on the underlying meanings of the work. During the
Renaissance, the
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In the oval-shaped base of the sculpture, Cellini included four gold figures representing the times of day that were inspired by
Michelangelo's allegorical figures of
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242:(Land and Sea). Both subjects reflect the influence of Mannerism in their enigmatic facial expressions, inaccurate body proportions, and use of
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714:. Ideas in Context. Translated by McLintock, David. Cambridge, ; New York, NY: Cambridge University Press. p. 189.
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in Rome, he began to make larger and bolder pieces. He then worked for many prominent figures in his career, including King
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Cellini's overall technique in designing the salt cellar for King
Francis I stemmed from methods that he learned from
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448:"Homines non nascuntur, sed figuntur: Benvenuto Cellini's Vita and Self-Presentation of the Renaissance Artist"
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502:"The treatises of Benvenuto Cellini on goldsmithing and sculpture : Cellini, Benvenuto, 1500-1571"
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In the 1530s, Benvenuto
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145:(r.1515-1547), from silver plate models that had been prepared many years earlier for Cardinal
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On 11 May 2003, the cellar was stolen from the
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Famously stolen in 2003, the salt cellar was recovered in 2006 and the thief was imprisoned.
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avoid the fate of so many other gold sculptures from the
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26 cm × 33.5 cm (10 in × 13.2 in)
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History of Italian Renaissance Art: Painting, Sculpture, Architecture
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578:. Upper Saddle River, NJ: Pearson/Prentice Hall. pp. 662–663.
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691:. Translated by Symond, John Addington. New York, NY: Brentano's.
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Originally, the cellar was part of the Habsburg art collection at
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744:"Selected masterpieces – The Goldsmith's Art: Sogenannte Saliera"
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The Treaties of Benvenuto Cellini on Goldsmithing and Sculpture
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528:"The Autobiography of Benvenuto Cellini by Benvenuto Cellini"
420:. Cambridge, UK: Cambridge University Press. pp. 71–78.
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Cellini, Benvenuto (1906). Symonds, John Addington (ed.).
187:(r.1515-1547), and later in Florence for the Medici ruler
808:"Famed 'La Saliera' sculpture back on display in Vienna"
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The Court Artist: On the Ancestry of the Modern Artist
611:. England: Cambridge University Press. pp. 4–5.
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Gallucci, Margaret A.; Rossi, Paolo L., eds. (2004).
879:"Inflation Calculator: Bureau of Labor Statistics"
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689:The Life of Benvenuto Cellini, Written by Himself
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641:. New York: Dover Publications. pp. 58–60.
418:Benvenuto Cellini: Sculpture, Goldsmith, Writer
238:, Cellini's Salt Cellar allegorically portrays
789:"For Stolen Saltcellar, a Cellphone Is Golden"
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175:Historical context, commission, and technique
141:(c.1500-1571). It was completed in 1543 for
853:"Austrian art thief sentenced to four years"
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574:Hartt, Frederick; Wilkins, David G. (2011).
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162:I trattati dell'oreficieria e della Scultura
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609:Cellini and the Principals of Sculpture
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166:Treatises on Goldsmithing and Sculpture
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1116:Sculptures by Benvenuto Cellini
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302:for Charles in his wedding to
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668:Kunsthistorisches Museum Wien
452:The Sixteenth Century Journal
446:Gardner, Victoria C. (1997).
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137:gold table sculpture by
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769:24 October 2013 at the
710:Warnke, Martin (1993).
1013:The Affairs of Cellini
957:Nymph of Fontainebleau
607:Cole, Michael (2002).
119:(in Vienna called the
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637:Ashbee, C.R. (1967).
356:Uniqa Insurance Group
352:United States dollars
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386:Blow, Alice (2021).
304:Elisabeth of Austria
292:Charles IX of France
156:was notable for its
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859:. September 8, 2006
185:Francis I of France
143:Francis I of France
116:Cellini Salt Cellar
23:Cellini Salt Cellar
834:. January 22, 2006
793:The New York Times
325:Theft and recovery
234:style of the late
149:(c.1479-1520).
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1146:Edible salt
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1048:(2001 play)
1040:(1990 film)
1032:(1963 film)
1016:(1934 film)
976:(1545–1554)
331:scaffolding
275:San Lorenzo
236:Renaissance
131:salt cellar
1110:Categories
1083:16°21′43″E
1080:48°12′13″N
984:Portrayals
949:Sculptures
885:2012-11-18
838:2011-01-28
831:BBC Online
749:2013-10-08
673:2023-04-21
618:0521813212
397:2023-03-31
362:References
282:Provenance
79:Dimensions
960:(c. 1543)
664:"Saliera"
594:768783778
488:165889629
472:0361-0160
288:Habsburgs
269:, in the
232:Mannerist
201:Caradosso
158:Mannerism
135:enamelled
29:Italian:
863:April 9,
767:Archived
730:26399208
538:April 9,
512:April 9,
87:Location
1056:Related
1045:Cellini
1005:Ascanio
904:Saliera
812:Reuters
480:2543453
340:Austria
154:Saliera
127:Italian
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344:Vienna
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319:Vienna
261:, and
95:Vienna
46:Artist
484:S2CID
476:JSTOR
354:) by
300:proxy
259:Night
225:ivory
221:ebony
865:2024
726:OCLC
716:ISBN
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267:Dusk
265:and
263:Dawn
257:and
223:and
193:Vita
129:for
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