The History of Italian Painting. Luigi Lanzi
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celebrated library at Wolfenbuttel, and others in Germany, stamped upon wood in a manner similar to that of playing-cards. Huber, Manuel, tom. i. p. 86.
[90] See Maffei, Verona Illustrata, Part iii. col. 195, and Part ii. col. 68, 76.
[91] There was collected for the ducal gallery in 1801, a silver pace that had been made for the company of S. Paolo, and sold upon the suppression of that pious foundation. It represents the saint's conversion, with many tolerably executed figures, from an unknown hand, though less old and valuable than that of Maso. He had ornamented it with niello; but in order to ascertain the workmanship, it was taken to pieces some years since, and the plate examined in the state it came from under the tools of the silversmith. The cuts were found not at all deep, resembling those of our engravers upon sheets of copper, upon the model of which the silver plate, being provided with the ink, was put into the press, and from it were taken as many, perhaps, as twenty fine proofs. One of these is in the collection of the Senator Bali Martelli; and upon this a foreign connoisseur wrote that it was the work of Doni, I know not on what authority, unless, from an error of memory, the name Doni was inserted instead of Dei.
[92] Ambrogio Leone mentions both, De Nobilitate rerum, cap. 41, and he particularly praises, for his skill in working niello, the second, who is so little known in the history of the arts. See Morelli, Notizia, p. 204.
[93] Vasari, who is difficult to understand, at least by many, on account of his brevity, touches upon the different processes used by Maso, which are these: When he had cut the plate, he next proceeded to take a print of it, before he inlaid it with niello, upon very fine earth; and from the cut being to the right hand, and hollow, the proof consequently came out on the left, shewing the little earthen cast in relief. Upon this last he threw the liquid sulphur, from which he obtained a second proof, which, of course, appeared to the right, and took from the relief a hollow form. He then laid the ink (lamp black or printer's ink) upon the sulphur, in such a way as to fill up the hollows on the more indented cuts, intended to produce the shadow; and next, by degrees, he scraped away from the ground (of the sulphur) what was meant to produce the light. And this is also the plan pursued in engraving on copper. The final work was to polish it with oil, in order to give the sulphur the bright appearance of silver.
[94] They are to be seen in a little portable altar; and are most probably the proofs of some niello worker of the time; who had executed those histories in silver to ornament some similar little altar, or the place in which sacred relics were laid. Before introducing the niello, he had cast proofs of his work in these zolfi (sulphurs), which were subsequently inlaid with great symmetry and taste in the altar-piece. They consist of various forms and sizes, and are adapted to the architecture of the little altar, and to its various parts. Many of them have now perished, though several are yet in existence, the smallest of which chiefly represent histories from scripture, and the largest of them the acts of the Evangelists, to the number of fourteen, and about one-sixth of a braccio (an arm, two-thirds of a yard) in height.
[95] Pace, a sort of sacred vessel borne in procession by the priests; literally, it means peace.
[96] In this edition I ought to mention another zolfo (a sulphur cast) of the same pace of S. Giovanni, in possession of his excellency the Senator Prior Seratti. This, when compared with the model, corresponds line for line; there is a full display of the very difficult character of Maso's heads, and what is still more decisive, is, that it is cut, or indented, an effect that must have been produced according to the manner already described. The zolfo Durazzo, as appears from the impression, does not correspond so well; some of the flowers and ornaments of drapery are wanting; it is not equally finished, and it seems smooth on the surface. This does not derogate from its genuineness, for as several proofs were taken of the same pace, which was cut by degrees, if we find less completeness in the Durazzo proof, it is only an indication of its having been taken before the rest. And if the impressions of the cuts are not so plainly traced as in the other, I do not, therefore, conjecture that they do not exist. The zolfi of the fathers of Camaldoli already cited, seem as if they were printed, and smooth. A fragment breaking off, highly polished on the surface, the cuts were then discovered, even to the minutest lines, as many professors, even the most experienced in the art of printing, to their surprise, have witnessed; and they conjectured that the ocular illusion might arise, 1st, from the fineness of cut made with the style, or possibly with the graver, which was diminished in proportion as it passed from the sheet to the earthen mould, and from this to the zolfo; 2d, from the density of the ink, when hardened between the cuts or hollows of the zolfo; 3d, from a coat of bluish colour laid on the work, of which there remain traces, and from that which time produces both in paintings and on cards. I have not a doubt, that, if the experiment were tried on the Durazzo zolfo, the result would appear exactly the same. The extrinsic proofs of its origin, also adduced by Gori, together with the aspect of the monument, which is fresh in my memory, do not authorize me to suspect the existence of a fraud.
[97] Christ in the manger.
[98] Heineken gives a general nomenclature of the works of these silver carvers. Idéé, &c. p. 217].
[99] I must remark, that some copper of the earliest age may have been preserved and made use of after the introduction of felt and of the press. In this case there will remain no impression of the linen cloth, but the print will be poor and faint.
[100] In the prints of Dante, and other Florentine books, a yellowish colour prevails; and we may observe stains of oil and blots at the extremities. A pale ash colour was also used for wood prints by the Germans, and Meerman remarks that it was employed to counterfeit the colour of designs.
[101] See Lettere Pittoriche, tom. ii. p. 268.
[102] Ibid. p. 269. I should add, that the twenty others are now known, obtained for the Riccardi library at Florence.
[103] Lettere Pittoriche, tom. ii. p. 267. It is ascertained that Maso flourished less recently; and the Dante prints, inferior to those of Botticelli, were ascribed to him only on account of their coarseness, as we gather from Gaburri.
[104] It is denied that he was the inventor of this mode of engraving by many learned Germans, who give the merit of it to Wolgemuth. Meerman, L. C. p. 256.
[105] Notes to Baldinucci, tom. iv. p. 2.
[106] It was observed, at p. 115, that the Epiphany of Maso is anterior to the work of the Assumption. The progress from the minute and careful, to the free and great style, is very gradual. The present work contains many examples of this, even in the loftiest geniuses, in Coreggio, and in Raffaello himself.
[107] A sample of his ignorance appears in what he wrote of Demone; not well understanding Pliny, he did