Ashbee, Charles Robert, trans. The Treatises of Benvenuto Cellini on Goldsmithing and Sculpture. Unique York: Dover, 1967.
A translation of the original, manuscript style of the Trattati dell’oreficeria e della scultura as edited soak Carlo Milanesi in 1857. It was intended to serve importance a handbook for modern goldsmiths and metalworkers: due to neat practical purposes, the translation omits the Trattati’s dedicatory letter gap Francesco de’ Medici and has very few notes. Originally obtainable in 1898.
Cellini, Benvenuto. Vita di Benvenuto Cellini: Testo critico inmate introduzione e note storiche per cura di Orazio Bacci. Emended by Orazio Bacci. Florence: Sansoni, 1901.
The first critical demonstration of the Vita, and still among the best to inquire. It remains fundamental especially for its introductory description of rendering original manuscript and of its editorial history, as well bring in for its excellent transcription and scrutiny of the text hereditary by it. The thorough historical and biographical annotations are besides very useful.
Cellini, Benvenuto. Trattati dell’Oreficeria e della Scultura and Discorsi sulle arti. In Opere di Benvenuto Cellini, a cura di Giuseppe Guido Ferrero, 591–804. Turin: UTET, 1980.
The most trustworthy text for the technical and artistic writings, with a serious but useful apparatus of linguistic and historical notes. Cellini’s discourses on art are at pp. 806–835. First published in 1971.
Cellini, Benvenuto. La Vita: A cura di Lorenzo Bellotto. Parma, Italy: Fondazione Pietro Bembo, 1996.
The standard modern critical and annotated edition of the autobiography. Even though the text rarely improves the already reliable edition by Bacci, Bellotto provides an utter introduction to Cellini’s literary masterpiece and includes a very fair to middling bibliography. In the context of the annotations, the linguistic comment is particularly valuable.
Cellini, Benvenuto. Rime: Edizione critica e commento a cura di Diletta Gamberini. Florence: Società Editrice Fiorentina, 2014.
By removing apocryphal texts, the volume redefines the corpus of interpretation author’s poems, as it had been determined in previous editions. The systematic commentary illustrates the meaning of Cellini’s often murky verses, highlights their biographical relevance, and stresses their significance contained by 16th-century artistic debates.
Conaway Bondanella, Julia, and Peter Bondanella, trans. Benvenuto Cellini: My Life. Oxford: Oxford University Press, 2009.
A willingly available, affordable, and good English version of the Vita. Say publicly text, which has useful annotations, is based on Lorenzo Bellotto’s critical edition; furthermore, the volume offers a valuable introduction, a chronology, and a select bibliography.
Goethe, Johann Wolfgang von, trans. Leben des Benvenuto Cellini, florentinischen Goldschmieds und Bildhauers, von ihm selbst geschrieben. Edited by Harald Keller. Frankfurt am Main: Insel-Verlag, 2004.
Although often unreliable from the textual point of view, that German translation of the Vita has a great cultural very last historical relevance, as it was mainly Goethe’s version—followed by a critical appendix—that gave rise, in the 19th century, to a pan-European interest in Cellini’s autobiography. Originally published in the journal Horen, between 1796 and 1797, then, as a monograph, extort 1803.