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The study challenges earlier assumptions that the Vita was dictated to a young boy, arguing instead for a deliberate narrative strategy. Two aims guide this reading: displaying mastery of Castiglione’s sprezzatura and deflecting harsh criticism from detractors who questioned Cellini’s status as a letterato. 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SISLER  \nALL RIGHTS RESERVED  \nBENVENUTO CELLINI’S VITA:  \nTHE ART OF CASTING A RENAISSANCE MAN  \nby MARY E. SISLER A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Italian written under the direction of Professor Andrea Baldi and approved by  \n________________________________  \n________________________________  \n________________________________  \n_________________________________  \nNew Brunswick, New Jersey January 2009  \nABSTRACT OF THE DISSERTATION  \nBenvenuto Cellini’s Vita: The Art of Casting a Renaissance Man By MARY E. SISLER  \nDissertation Director:  \nProfessor Andrea Baldi  \nIn examining Benvenuto Cellini’s Vita, it was my objective to demonstrate that the artist resolutely set out to ‘cast’ his own life as the model of the consummate Renaissance man. An essential goal of Cellini’s literary self-portrait was to create a demonstration piece of the artist’s proficiency as a letterato. Previous studies of Cellini’s autobiography have generally accepted at face value the author’s claim to have dictated the Vita to a young boy while working in his bottega. Acceptance of this declaration has led to an underestimation of the author’s level of preparation and inventiveness. It was concluded that Cellini’s dictation claim was part of a narrative strategy with at least two objectives: 1) to demonstrate mastery of the Castiglionesque art of sprezzatura by depicting the artist as one who could nonchalantly recount the story of his life while simultaneously creating works of art; and 2) to circumvent the harsh criticism of those, like Vincenzo Borghini, who publicly derided him for his efforts to prove himself as aletterato.  \nUsing an interdisciplinary approach that included the studies of Renaissance historians, art historians and literary critics, this study found that Cellini incorporated many of the same attributes ascribed to Castiglione’s perfetto cortegiano in the  \nfashioning of his own Renaissance man in the Vita. It was also concluded that Benedetto Varchi’s Lezzioni of 1547, particularly his treatment of the ottimo artista, played a significant role both in shaping Cellini’s ideas about his artistic identity, as well as in encouraging the artist to prove his skills as a writer.  \nThis study also examined some of the adaptations of Cellini’s Vita in order to determine which qualities of the original made it so attractive to playwrights and film directors who decided to remake Cellini’s autobiography for the stage and screen. It was determined that the adaptations that sought to exploit the comic elements of Cellini’s Vita tended to be the most successful. These American adaptations of the 1920’s and 1930’s also benefited from the popular fascination with the Italian Renaissance that is revealed in the travel writing of the 19th and early 20th centuries.  \nDEDICATION  \nFor Rich and Emma  \nTABLE OF CONTENTS  \nAbstract ii  \nDedication iv  \nI. Genesis and Intrigue Surrounding a Troubled Vita 1  \nI.1 Constructing a New Identity: The Artist as letterato 1  \nII.2 Il Servitore di due Patroni: The Bust of Bindo Altoviti and the Case of the Missing Bronze 40  \nII. Cellini’s Vita—“Pruove Inistimabile” of the Artist as letterato 63  \nII.1 Cellini’s Vita: Just what kind of book is it? 63  \nII.2 “L’albergo dell’allegria” meets ‘la bottega delle burle’ 70  \nII.3 Perfetto cortegiano vs. ottimo artista: Points of convergence between the two models 94  \nII.4 Cellini’s lexicon of value: Signs of nostalgia for a bygone era 110  \nIII.‘Go West, Young Man’: A Vita ‘Made in Italy’Remakes its Way  \nto Hollywood 118  \nIII.1 The ‘fascino’ of Cellini’s Vita: “Prima europeo che italiano”? 118  \nIII.2 Benvenuto Cellini: Star of Broadway’s The Firebrand 123  \nIII.3 Cellini: A‘classic’ for the 21st century? 139  \nIII.4 Benvenuto goes to Hollywood: The Affairs of Cellini 151  \nII","cbCailvNt5HV0LzK","https://ap.wps.com/l/cbCailvNt5HV0LzK","pdf",868439,213,"English","# Genesis and Intrigue Surrounding a Troubled Vita\n## Constructing a New Identity: The Artist as letterato\n# Cellini’s Vita—“Pruove Inistimabile” of the Artist as letterato\n## Cellini’s Vita: Just what kind of book is it?\n## Perfetto cortegiano vs. ottimo artista: Points of convergence between the two models\n# ‘Go West, Young Man’: A Vita ‘Made in Italy’ Remakes its Way to Hollywood\n## Benvenuto goes to Hollywood: The Affairs of Cellini\n# Conclusion\n## Fare vs. Dire: Forging a Lasting Legacy","[{\"question\":\"What core purpose does the dissertation attribute to Cellini’s Vita?\",\"answer\":\"It argues that Cellini used the Vita to present his own life as the exemplar of a consummate Renaissance man while demonstrating his literary skill.\"},{\"question\":\"How does the study reinterpret the “dictation” claim about the Vita?\",\"answer\":\"It concludes the dictation story functioned as narrative strategy, with goals including showcasing sprezzatura and countering critics who mocked him as a letterato.\"},{\"question\":\"Which scholarly framework is used to analyze the Vita?\",\"answer\":\"The dissertation uses an interdisciplinary approach combining Renaissance historians, art historians, and literary critics to compare Cellini’s self-fashioning with models like Castiglione’s perfetto cortegiano.\"}]","Benvenuto Cellini’s Vita - The Art of Casting a Renaissance Man | PDF",537]