Modern methods of biometric identification are increasingly applied in order to attribute works of art.  They based on developed in the 19th century the anthropological methods. So, this article describes how the successional anthropological methods were applied for the identification of Benvenuto Cellini’s portraits. Objective comparison of facial parameters was used for a scientific method of face-biometrical identification. For purposes of biometric identification of Benvenuto Cellini’s face through anthropological comparison 12 works of art were selected, in each of the selected portraits the following six anatomic points were marked, according to the Perrot’s method were calculated ratio, which were analyzed. The biometric parameters of faces under comparison by the Perrot’s method are represented as an arithmetic mean of the values of angles and indicators. The main characteristic facial details of Cellini’s works, such as the shape of nose, eyes, protruding lower lip and eyebrows are identified.

Agafonov, V.V. & Filippov, A.G. (2013). Kriminalistika. Moscow: Yurait-Izdat, 242 p. 
Bertillon, A. (1893). Identification anthropométrique: Instructions signalétiques. Melun. Direct access: https://criminocorpus.org/fr/outils/bibliographie/consultation/ouvrages/105175/
Cellini, B. (2010). The autobiography of Benvenuto Cellini . Everyman’s Library. 
Cellini, B. (1998). Zhizn’ Benvenuto Cellini napisannaya im samim.  Мoscow: Crystal, 352 p.
David of Michelangelo. (2015). Communiqué by Pushkin State Museum of Fine Arts. Direct access: http://www.arts-museum.ru/data/fonds/europe_and_america/2_2_v/0001-1000/424_micelangelo_david/index.php 
Gombrich E.H. (1984).  Art and Illusion. A study in the psychology of pictorial representation. London: Phaidon Press, 363 p.
Kaluszynski, M. (1985). L'antropometria e il “bertillonnage” in Francia . Electa: Université de Turin, 363 p. 
Khaziev. Sh.N. (2004). Procedural and forensic foundations of forensic examination of art. Actual problems of theory and practice of forensic examination. Reports and posts on the international conference on "East-West Partnership for forensic examination". Moscow, 335-37.
Khaziev. Sh. N. (2005). Art-kriminalistika: sut’ i potencial. Advokat, 5, 255-267.
Kirwin, C.W. (1971). Vasari's Tondo of Cosmo I with his Architects, Engeneers and Sculptors, in the Palazzo Vecchio: Typology and Re-Identification of Portraits. Metteilungen des Kunsthistorischen Institutes in Florenz, 15, 356-397. 
List des experts judiciaries annee (2013). Cour d’appele de Lyon. Direct access: http://www.courdecassation.fr/IMG///Liste_experts_CA_Lyon_2013.pdf 
Mandel, C. (1996). Perseus and the Medici. Storia Dell Arte, 2, 145-156.
Morghen, R. (2015). Portrait of Benvenuto Cellini. Gravure. Direct access: http://giorgio-vasari.it-pr.ru/paint/68.html 
Moskvina, T.P., Smirnov, A.A. & Khaziev, S.N. (2004). Forensic examination of the historical and art criticism. Bulletin of the Russian Ministry of Justice, 9, 177-189.
Perrot, R. & Desbois, Y. (2008). Une méthode de vidéophotocomparaison développée au Laboratoire d'Anthropologie Anatomique de Lyon1 et appliquée а l'identification des auteurs de vol а main armée. Biométrie humaine et anthropologie, 26, 63–67.
Perrot, R. (1996). Use of Anthropological Methods in the Identification of Unknown Individuals: Human Remains and Armed Robbers. 14th Meeting of the International Association of Forensic Sciences. Tokyo, August 26-30.
Perrot, R. (2005). Laboratoire d’Anthropologie Anatomique et de Paleopathologie. Direct access: http://anthropologie-et-paleopathologie.univ-lyon1.fr/Index.htm 
Perrot, R. (2007). Biométrie faciale et expertise d'œuvres d'art. Paleobios, Lyon, 15, 165-179.
Perrot, R. (2011). Un exemple d'application de la biométrique de similarité au domaine artistique. Lyon, 16, 233-248.
Piskunova, E.V. (2013). Criminalistic maintenance of investigation of crimes in the sphere of art: art criticism forensic examination. Moscow: AST, 353 p.
Podzemskaya, N.P.  (1997). Zhizn' Benvenuto Cellini kak literaturny pamyatnik pozdnego italianskogo Vozrozhdenya. Kultura Vozrozhdeniya XVIveka. Мoscow: Nauka, 373 p.
Pope-Hennessy, J. (1985). Benvenuto Cellini.  New York: Abbeville Press, 324p. 
Randall, C. (2005). Antique sale painting unveiled as Cellini self-portrait. Direct access: http://www.telegraph.co.uk/news/worldnews/europe/italy/1498393/Antique-sale-painting-unveiled-as-60m-Cellini-selfportrait.html    
Sorotkina, N.M. (2011). Benvenuto Cellini. Мoscow: Veche, 374 p.
Zlotnikova, I.V. & Bogatyrev, S.E. (2010). Features of examination of art within the framework of administrative and criminal proceedings. Direct access: http://www.juristlib.ru/book_7742.html