CHAPTER VIII. THE MYSTERY OF MAKING GREAT COLOSSI.

To begin with, then, I divided the model, which was to be translated from three cubits to forty, into forty small parts, each of these parts again I divided into twenty-four parts. But as I knew that this method alone would not suffice to arrive at the requisite size, I devised another method, a method entirely my own, never invented by anyone before, & the outcome of my own great researches. As I am always generously inclined, I will impart it to such as have good work at heart. It is this: I took four square pieces of wood measuring respectively three fingers each way, they were very straight, and planed nice and smooth, and they were exactly the height of my figure. These I fixed into the ground, plumbing them absolutely straight, and at such distance from the figure as to admit of a man entering in between; they were then match-boarded[283] all round, the boards being likewise perfectly straight, & a small opening at the back to enter by. Up against this match-boarding I began making my measurements, & then I drew out on the floor of a long room a profile[284] of the whole statue, forty cubits in size. Finding this plan work out with delightful accuracy, I proceeded next to make a skeleton three cubits high, similar to that of the model. This skeleton was all joined together with pieces of wood, fastened respectively to a very straight rod, the latter served for the left leg, upon which my figure rested. I took the measurements of the body of the figure off the case, making allowance in doing so for the thickness of the flesh and bone work it had subsequently to be clothed with. Thereupon I erected a great mast forty cubits high in the centre of the court of my castle, and round it I set up four other masts just as I had done it with the model, and these also I cased round with match-boarding just as I had done the small model. Then I joined together the life size skeleton, taking the measurements exactly from the small skeleton, for every little piece a large piece, and so marking off every measurement of every part of my figure proportionately from one case on to the other.

Had I scaled the work off in the usual way I should have had no end of difficulties, but this method of mine with the cases avoided all that, and I got as fine a proportion in my life size as in my small figures. Now as my figure was posed upon the left foot, and had the right foot resting on a helmet, I so arranged the skeleton as to make it possible to get inside the helmet & climb easily through the foot right up into the head. The skeleton completed, I clothed it in flesh, that is to say in gesso, and laid it on rapidly in the same manner. When I had got the work completed to the last skin but one, I had the front of the casing opened, and stepped back to view it some forty cubits, which was as much as there was room for in my court-yard. Everybody was delighted with the result, not only connoisseurs, many of whom came to see, but, what was much more important, I myself, who had given so much labour towards its fulfilment. What pleased me most, however, was the fact that there was not the slightest discrepancy between the small and the large model. By this method of mine I set working a number of labourers & people unskilled in the profession, it wasn’t in the least necessary for them to know what they were doing. Indeed so masterly is my invention that nothing but patience and diligence are needed, for the rest you may be a perfect ignoramus in the art, and not even the hand of a Michaelangelo help you. In a colossus of this kind the masses of muscle, &c., are so huge that it is impossible to take them in from the ordinary point of vision, which one may put at twice the length of a man; & if you approach the figure at arm’s length in order to work it you see nothing; if, on the other hand, you go a long way off you do see a little more, but still not enough to remedy the great errors that must arise. You see, therefore, that without this method of mine it is impossible to carry out a large colossus with fine proportions. Truly, many a statue of ten cubits high has been spoilt by some blunder or other; and I really think that not even statues of six cubits high can be properly made without this method of mine. Of course it is quite conceivable that just as I have discovered this method so some greater genius than I may discover a better one still; but then it’s always easy to improve a patent!

When the King came to Paris, he lay, as was his wont, at his castle, the Logro (the Louvre); it was opposite my castle of Little Nello, for there was only the Seine in between. I crossed the river and waited upon his Majesty. He was quite charming to me, and asked me if I had anything lovely to show him. I replied that as for the loveliness I wasn’t so sure, but I had done some work with great study and with all the devotion that so noble an art demanded, and that if it was good it was due to him who allowed me to want for nothing, such freehandedness being the only way of getting the best work done. To this the King yeasaid me, and the day following he came to my house. After I had shown him a variety of different work I made him enter the court-yard, placing him at the point whence my great statue told to the best advantage. He obeyed me with the greatest condescension and the most perfect breeding;[285] and, indeed, never have I met any prince who had such a wonderful way with him. Now while I was conversing with his Majesty I ordered Ascanio, my pupil, to let the curtain down. Instantly the King raised his hands & spoke in my praise the most complimentary words that human tongue ever uttered. After which, turning to Monsignor d’Aniballe,[286] ‘I command you,’ he said, most emphatically, ‘to give the first good fat Abbey that falls vacant to our Benvenuto, for I do not want my kingdom to be deprived of his like.’ At this I bowed deeply and thanked the King, while he, well satisfied, went back to his castle.

Now knew I what pleasure my labour caused this great King, encouragement brought encouragement, and I set to yet greater labours still. I took 30 lbs. of silver of my own money & gave it to two of my workmen, with the designs and the models to make two large vases of. As it was a time of great wars I had asked no money of the King, and also left untouched six months of my salary. Setting to work lustily at my own vases, I finished them in a month’s time, and set out with them to find the King who was in a city by the sea called Argentana. When I gave him the vases he was most engaging, & said: ‘Be of good heart, my Benvenuto, for I am one that both can & will reward your labours better than anyone else in the world.’ To which I replied that from earliest recollections my mightiest labours had been the discovery & application of my method relating to the founding of great colossi; that now, thanks to God, my model had come up to my expectations, that the casting had now to be considered, and that this would have to be done in over one hundred separate pieces, fitted together with swallow-tail joints. Nor would it be very difficult for us to do, as I had already devised a skeleton of iron upon which to attach the various portions of the colossus as I cast them, commencing at the feet and piece by piece fitting them together up to the head. The only difficulty would be the putting together of the iron skeleton; but this, too, I would take credit for surmounting, observing the same process as I had carried out previously in the wooden one. It would be necessary, then, for me to fix the first rods of the skeleton straightway into their final position, that is to say, at his Majesty’s residence at Fontainebleau, where I should have to be provided with a room sufficiently large for the purpose. To this the King replied that, if there were no other rooms suitable to my purpose, he would give up to me his own private apartment, so great was his desire to see a work of this kind finished. I might take courage, then, and be of a light heart, and, he added, I might return to Paris to this end. The two big vases were standing on the table before his Majesty, & as he was fingering and praising them, I preferred the request to him that, as the time was opportune, it being the time of war, he would grant me permission to return for four months to Italy, to revisit my fatherland, my relatives & friends. At these words of mine his Majesty grew very sour of aspect, and turned to me, saying, ‘I wish you to gild these two vases from top to bottom with dull gilding!’ This remark he repeated twice, and then rose quickly from the table and said nothing further. By ‘dull’ I fancied he meant two things: firstly, that I was a ‘dull fool’ to ask such a liberty; & secondly, that the gold on the vases was to be left unburnished. When his Majesty had withdrawn I begged the Cardinal of Ferrara, to whom was entrusted the duty of looking after me, to procure the leave for me. The Cardinal bade me go back to Paris, and that he would let me know what I should do. In the space of a fortnight he sent word by one of his servants that I could go, but that I should return as soon as possible. I praised God and set out.

Of the property in my castle I took absolutely nothing with me, neither the stuffs nor the house furniture, the silver nor the gold, nor the embossed vases, nor any of the other works made independently of the agreements entered into with the King, works all of them carried out by my workmen and paid for by me. The great works enumerated in this book, and made for the King, his Majesty had himself valued at over 16,000 scudi. I not unnaturally thought that, as I had not only taken nothing, but was likewise a creditor for so large a treasure, I should come back quick enough.

So I came to Italy and reached Florence my native city, & went to Poggio in Caiano, and shook hands with the grand Duke Cosimo, and he received me very charmingly. Two days after, the grand Duke gave me an order to make a small model for a Perseus, which was most gratifying to me, & two months sufficed to do it in. When his Excellency saw it he was beyond measure pleased, & he said to me in the presence of a number of gentlemen: ‘Had you the courage to carry out the work as finely in a great piece as here in your little model, it would be the grandest work on the Piazza.’ To these gratifying words I replied: ‘My lord, in the Piazza are works by Donatello and the great Michaelangelo, both of them men that in the glory of their works have beaten the ancients; as for me I _have_ the courage to execute this work to the size of five cubits, and in so doing make it ever so much better than the model.’ At this there was no end of argumentation.

Now, as the war was still raging hotly in France, I thought I should have plenty of time to cast one at least of the two figures.[287] But when they heard in France that I was working in Florence for the grand Duke Cosimo, his Majesty took it very ill indeed, and he said on several occasions: ‘Didn’t I tell Benvenuto that he was a dull fool?’ Upon which the Cardinal of Ferrara did me a bad turn and made matters worse, so that in the end the King said he would never call me back again. All this was notified to me in writing on behalf of the King. To this I replied that what alone troubled me was leaving so great a work unfinished, but that I should never think of going anywhere where I wasn’t called. And so it came about that what with the encouragement of his Excellency I set to work to get my Perseus through. After some time, it must have been several months, the King relented, and, discussing the matter with the Cardinal of Ferrara, said to him that it had been a great mistake ever to have let me go. The Cardinal replied that it needed but a wink to fetch me back again. To this the King said that it was the Cardinal’s duty to have prevented it; & instantly turning to one of his treasurers, by name Giuliano Buonaccorsi, one of our Florentines, said to him: ‘Send Benvenuto 6,000 scudi, & tell him to come back and finish his great colossus, and I’ll make it up with him.’ The treasurer wrote to me all about his Majesty’s making it up, but he didn’t send any coin, saying, however, that upon hearing my reply he would at once give the order for the money. To this I, on my part, replied that I was quite ready & would make it up too. In the midst of these negotiations to and fro, the good King departed this life; thus was I deprived of the glory of my great work, the reward of all my labours, and of everything that I had left behind me. So I set to work to finish my Perseus.

END OF THE TREATISE ON SCULPTURE.

FOOTNOTES:

[283] _Soppannata._

[284] _Proffilo._

[285] _Virtù._ _See also Brinckmans rendering_: ‘_Als grösserer Liebhaber der schönen Künste._’

[286] _Claude d’Annebault, Marechal de France._

[287] _The Perseus and the Medusa._

THE GLOSSARY HERE FOLLOWING DOES NOT PROFESS IN ANY SENSE TO BE COMPLETE, NOR ARE THE WORDS IN IT TO BE REGARDED AS BEARING ONLY THE SIGNIFICATION GIVEN IN EACH CASE: THE ATTEMPT, HOWEVER, IS TO RENDER CELLINI’S MEANING IN THE TREATISES AND AUTOBIOGRAPHY, AS I HAVE UNDERSTOOD IT.

A GLOSSARY OF ITALIAN TECHNICAL TERMS FOR THE USE OF STUDENTS.

_The references, where given, are to the paging respectively of the Trattati (Tra.) and the Vita (V.); the former to the Italian of Milanesi, 1857 edition, the latter to Symonds’ Translation, 1893 edition. Where I have adopted Symonds’ definition of a word I have acknowledged it with an (S.)._

ABBASSARE: to bring or hammer down, as of relief work in metal. Tra. 143.

ACCETTARE: to accept or take; of the accepting of metal from the gesso or clay mould. In Tra. 164, Cellini describes how the metal accepts better when the clay is fatty from decomposition.

ACCONCIARE: to set. Tra. 40. _See_ also SERRARE, LEGARE.

ACQUA: the water of a diamond. Tra. 60, 65.

ACQUA DA PARTIRE: _see_ PARTIRE.

ACQUA DI DRAGANTE: _see_ DRAGANTE.

ACQUA FORTE: aquafortis in its various uses. _See_ Tra. 31, 149, 155.

ACQUAIO: a pipe for carrying off water. Tra. 173. _See_ CANNONETTO.

ACQUA MARINA: the aquamarine. Tra. 39.

ACQUA MORTA: urine. V. 282.

ACQUERECCIA: a large metal ewer for holding water. Tra. 130.

AFFARE: to make, to tell well, to give a good effect, as of a well-set stone. Tra. 41.

AFFATICARSI: to wear; of the wear and tear of the dies in stamping. Tra. 123. More generally, to be affected by. Tra. 186.

AFFINARE: to fine, of gold. Tra. 156.

AFFUMARE: to besmoke, as with a candle or lamp flame. Tra. 102, 103. For substantive Cellini uses _spolverezzo_.

AGGHIADARE: to curdle, to stiffen; of metal when it does not fuse. Tra. 192.

ALIETTA: a wing or bracket of iron to strengthen the frame that holds the dies for stamping. Tra. 122.

ALITARE: to blow or kindle with the bellows. Tra. 124.

ALLACCIARE: to fasten. Tra. 80.

ALLUME DI ROCCA: rock alum. Tra. 155. Probably sulphate of alumina from alum shale.

ALZARE: to stand or be bossed up. Tra. 95.

AMATISTA: amethyst. Tra. 39.

AMATITA NERA: a hæmatite stone. Tra. 49.

AMATITA ROSSA: _see_ MATITA.

ANCUDINE, ANCUDINETTA, ANCUDINUZZA: an anvil, or more usually a stake head for hammer work.

ANELLO: a ring; _anello del granchio_. A metal ring of lead or copper, now worn in Italy under the name _anello di salute_ (S.).

ANIMA: the core or inner block of a _cire perdue_ casting. Tra. 165. V. 1.

APPICCATO: standing or picked out; of a figure from its field. Tra. 78.

APPOMICIATO: treated with pumice, as of metal work for the final cleaning. Tra. 145.

APRIRE: a term employed in enamelling to express the effect of a firing upon red enamel, when the same turns to a yellow scarce distinguishable from gold. Tra. 35.

ARCHIMISTA: an alchemist.

ARCHIPENZOLO: a geometrical plane. Tra. 205.

ARENA DI TUFO: a tufa earth. Tra. 102.

ARGANO: a windlass. Tra. 173. V. 420.

ARGENTO VIVO: mercury. Tra. 147.

ARMADURA: a framework, such as would admit of the model of a large statue being built upon it. Tra. 206.

ARRENARE: to treat with sand or sand-paper. Tra. 76.

ARRUOTARE: to polish or burnish, as of dies upon a smooth stone. Tra. 111.

ARTIGLIERIE (MAESTRO DI): ordnance founders. Tra. 163.

ASSOTIGLIARE: to softly polish over, as of enamel with sandstone. Tra. 35. _See_ FRASINELLA.

ASTA: the hasp or handle of a chisel. Tra. 198.

AVVIVATOIO, also ISVIVATOIO: a metal rod with a wooden handle used for polishing rings, and applying mercury gilding. Tra. 149. V. 252.

BACINELLA: a mortar. Tra. 30.

BAGNO (CONDOTTO IN): a bath, _i.e._, of bronze brought to the liquid state. Tra. 178.

BALASCIA, BALASCIO: the balas ruby. Tra. 38, 50.

BARILA: a measure of about 40 litres; 20 Florentine wine flasks. Tra. 119.

BATTILORO: a gold beater. Tra. 125.

BAVA, BAVETTA, BAVUCCIA: roughness; the rough edges of a casting. Tra. 120, 129, 174.

BERILLO: the beryl. Tra. 63.

BIACCA: white lead. Tra. 116.

BIANCHIMENTO: blanching solution. BIANCHIRE, to use this solution, or more generally to clean or whiten silver. Tra. 48, 146, 149. _See_ also GROMMATA.

BIETTA: a wedge of iron, such as is used for fastening the dies into the frame for minting. Tra. 122. Or of wood for tightening up a plaster mould. Tra. 167.

BOCCA: a mouth; the lip of a jug; the channel in which to pour the metal in a casting, &c. BOCCA PRINCIPALE, the main entrance. BOCCA DELLA SPINA, the mouth of the plug, from which the molten metal flows into the mould. BOCCA DEL MARTELLO, the thick end of a hammer. Tra. 131.

BOCCIA: a retort; an alembic. Tra. 156.

BOCETTA: a flask or bottle. Tra. 15.

BOLO ARMENIO (TERRA DI): bole of Armenia, a red earth used for gilding grounds, &c. Tra. 111.

BOLSO: blunted. Tra. 131.

BORDELLERIE: lumber (S.). V. 39. Large, clumsy rubbish.

BORRACE: borax. Tra. 17.

BORRACIERE: a borax crucible or pan. Tra. 20, 73.

BOTTONE: a button or clasp, or more specially a morse. Tra. 49, 80, 89.

BOZZA: a sketch. Tra. 197.

BRACCIAIUOLA: a pit beneath the grating to receive the ashes from the furnace. V. 423; Tra. 191.

BRACCIO: a cubit, _i.e._, about 48 inches.

BREVE: a trinket in the nature of a locket. Tra. 20.

BRUNIRE: to burnish; the process of burnishing as in niello. Tra. 18, 153. BRUNITOIO, a burnisher, usually of tempered steel. Tra. 18.

BULINO: a graver. Tra. 13.

CACCIANFUORI: snarling irons, a species of small stakes for repoussé work. Tra. 96, 134.

CALCIDONIO: chalcedony. Tra. 67.

CALDANUZZO: a pan or brazier. Tra. 58.

CALDARE: a large vessel used for the blanching solution. Tra. 58.

CALDERONE: a cauldron. Tra. 16, 150.

CALDO: a cooling, _e.g._, _dare un caldo_. Tra. 124; as of enamel work from the furnace.

CAMICIA: the coat or vest of wax drawn over the baked clay mould in a _cire perdue_ casting; or the mould generally. Tra. 162.

CAMOSCIARE: a method employed in embossing metal by working over the backgrounds with a broken steel tool; what we should call ‘matting’ or ‘frosting.’ Tra. 92.

CAMPO: the field or background of a piece of work. Tra. 76, 91.

CANALE: the channel through which the metal flows in a casting. Tra. 175. Also, in other uses, an ingot mould. Tra. 48, 175.

CANAPO: rope. Tra. 173; V. 420.

CANNELLA, CANNELLO: Tra. 170. _See_ CANALE.

CANNONE, CANNONETTO: tubes or pipes of metal or earthenware. Tra. 173, 174.

CAPPA DI FRATI: a grey colour of that name. Tra. 33.

CARATO: a carat; 3·17 grains troy. Tra. 47.

CARBONCULO: a carbuncle. Tra. 38.

CARBONE (MISURADI): troy weight. V. 205.

CARICARE: to fill in, or cover up; as of enamel in its cloisons, or gold on metal; also more generally, to load or weight. Tra. 25, 173.

CARTONE: cartoon. V. xlix.

CASTAGNUOLO: chestnut wood.

CASTONE: the bezel; or more generally, setting of a stone. Tra. 40.

CATINELLETTA: a little vessel. Tra. 136.

CATINOTTO: an earthen pot. Tra. 125.

CAVO: a mould.

CENERATA: a brew of charcoal, usually from oak, in boiling water, for cleaning niello work, &c. Tra. 16.

CEPPO: an anvil stock. Tra. 134. Also of a wooden block for striking coins on. Tra. 119.

CERVONA: _see_ COLLA CERVONA.

CESELLO, CESELLINO, CESELLETTO: a punch. CESELLARE: to work with the punch. _Passim._

CHERMISI: Kermes. Tra. 42.

CHIAVAQUORE: a trinket in the shape of a key; a hearts key. V. 27.

CHIOCCIOLA, CHIOCCIOLETTA: the female of the screw; or more generally, a spiral; also a snail or scroll in design. Tra. 92, 122, 132.

CIAPPOLA, CIAPPOLETA, CIAPPOLINA: a chisel; sometimes a sculper. Tra. 93. _See_ GRAFFIARE.

CIBORIO: pyx; a vessel for holding the Eucharist. V. 132.

CIMATURA: cloth shavings or frayings.

CIMENTO: cement; of the royal cement, the recipe for the making of which is described. Tra. 156.

CIOTOLINA: a beaker. Tra. 17, 21.

CITRINI, CITRINO: citron quartz. Tra. 65.

COGLIONERIE: gewgaws, shoddy trifles. V. 39.

COLLA: a gum or glue as of pear or quince seeds. Tra. 37. COLLA CERVONA: a glue made of stag’s horn. Tra. 154. COLLA DI PESCE: fish glue.

COLMETTA: bent or curved, of the sheet of gold to be hammered over bronze in the method of Caradosso. Tra. 72.

COMPARTIMENTO: a cloison in enamel; or a division in filigree. Tra. 24.

CONCIARE: to cut or polish stones. Tra. 51. CONCIATORE: a stone cutter. Tra. 66.

CONFICCARE: to clamp. Tra. 128.

CONGEGNARE: to nail. Tra. 128.

CONII: the dies for minting. V. 114. CONIARE: the process of striking with them. Tra. 120.

CONO: an iron wedge used in the frame for minting. Tra. 120.

COPERCHIO: the cap of a furnace. Tra. 181; V. 424.

COPERTO: suffused, clouded; used of the colour of stones. Tra. 38.

COREGGE: straps. V. 172.

COREGGIUOLO, CORREGGIOLETTO: a crucible. Tra. 15, 29, 126.

CORNA, CORNETTO: a horn, _e.g._, of a _caccianfuori_ stake. Tra. 134.

CORNIOLO: cornel wood from which punches for delicate metal work were made. Tra. 72.

CORNIUOLO: the carnelian. Tra. 67.

CORRERE: to fuse or run, of enamels in the furnace. Tra. 35.

COSTA DI COLTELLO: a knife’s back, a term of measurement, where we should use a gauge, _e.g._, Birmingham gauge.

CUCCUMA: turmeric root. Tra. 150.

DIGUAZZARE: to stir. Tra. 150.

DITO: a finger, used as a standard of measurement.

DOMMASCO: damask. Tra. 28.

DOPPIA, DOPPIO: a stone artificially pieced together of several pieces. Tra. 45.

DRAGANTE: gum tragacanth. Tra. 21.

FACETTE (A): facetted (_a facette_ as distinct from _a punta_ and _in tavola_ in the cutting of the diamond). V. 393; Tra. 49.

FALSATORE: a cheat; a dealer in false stones; a coiner. Tra. 44, 113.

FATTORETTO, FATTORINO: a shop assistant. Tra. 137, 68.

FEMMINA: the female screw. Tra. 122. _See_ also VITE FEMMINA.

FERETTO DI SPAGNA: calcined sulphate of iron (French, _ferret_). Tra. 152.

FERRAMENTI: tools and appliances generally. Tra. 46.

FERRI, FERRETTI, FERRUZZI, FERROLINI: iron or steel tools used for various processes, _e.g._, as applied to dies for minting.

FIASCO: a flask holding more than a quart. V. 187.

FIBBIA: a buckle, brooch, or pin. Tra. 9.

FILETTI: the sharp lines that divide one facet from another. V. 394.

FILO: filigree.

FILO TIRATO: metal wire or thread. Tra. 25.

FOGLIA: foil; usually of thin hammered metal for setting beneath stones, or covering gesso models to prevent the suction of the cast. Tra. 47.

FOGLIAME, FOGLIAMETTO: foliage; spray work. Tra. 19, 24, 79.

FONDERE: to cast. FONDERE NEL MORTAIO: a special method of casting described. Tra. 125.

FORBICE (UN PAIO DI), FORBICINE: a pair of forceps or pliers. Tra. 147.

FORMA: the mould, _e.g._, for casting metal in. V. 1.

FORMARE: to model or mould.

FORNACE, FORNACETTA: the furnace.

FORNELLO, FORNELLETTO: a stove.

FORNIMENTO DA CAVALLI: the metal trappings of horses. Tra. 120. DI SPADA: the inlay or damascening on swords. Tra. 155.

FRASCONCINO: a birch rod or bundle of twigs. Tra. 150.

FRASINELLA: a fine grained sandstone used for whetting the more delicate sorts of steel instruments and enamels; equivalent to hone rather than to whetstone. Tra. 36.

FREGIO: a border or framework. Tra. 92.

FUMMICARE: to steam. Tra. 151.

FUSCELLETTO, FUSCELLINO: a small twig, or tool of wood for working wax. Tra. 73, 116.

FUSCELLO: flour dust, described by Cellini as gathered on the walls and cornices of mills, and used as a paste for gilding. Tra. 154. _See_ also, in another sense, FUSCELLETTO.

GALANTERIE: little devices or conceits of design. Tra. 135.

GALLETTA: a strip, or shaping of wire, _e.g._, in filigree work. Tra. 21.

GAMBA, GAMBETTO: a claw in the setting of a stone. Tra. 53. A small clamp or attachment. Tra. 79.

GANGHERO: a hinge. Tra. 91. V. 41.

GATTA: _see_ OCCHIO DI GATTA.

GESSO: plaster of Paris, or one or other of the various compositions made from it with resin, beeswax, &c. Cellini has GESSO VOLTERRANO: gesso of Volterra. Tra. 100. GESSO COTTO: Tra. 100. GESSO IN PANE: gesso in the cake. Tra. 154. GESSO DI TRIPOLO: _see_ TRIPOLO.

GETTO (ARTE DEL): the art of bronze casting. Tra. 7.

GIRARE: to reverberate; of the flame in the furnace. Tra. 189. Also, _V. tr._ to handle, as of the graver, GIRARE IL BULINO. Tra. 13.

GIRASOLE: the girasol opal. Tra. 43.

GITTARE: to cast (of metal). Tra. 48, 76. Also in another sense, to lean or verge towards, _e.g._, of the colour of marble. Tra. 195.

GIULIO: a Tuscan coin of 56 Italian centimes or 8 Tuscan _crazie_, which in Florence was also called _barille_ or _gabellotto_, because the sum had to be paid as duty on a barrel of wine. (S.).

GOCCIOLA, GOCCIOLINA: a drop, as of the water distilled from pear or quince seed, used for enamelling. Tra. 36.

GOLA: the neck, _e.g._, of a vase. Tra. 133.

GOMMA, used alternately with GROMMA & GROMMATA: Any solution for the blanching or cleaning of metal. More strictly, the incrustation in wine casks, tanks, & water pipes. _Gomma_ or _gromma di botte_ is the tartar of wine casks used for the cleaning of metals and gilding silver; tartrate of potash. Tra. 48, 106.

GONFIARE: to boss or belly out. Tra. 79, 82.

GORBIA: a ferule or throttle of iron. Tra. 191. Also generally, a pointed tool for working soft stone. Tra. 200.

GRAFFIARE: in the sense used by Cellini, Tra. 128, to hatch or to grave upon the metal by means of a well sharpened _ciappola_, a cutting instrument, different from the _bulino_ & the _cesello_, used especially for hatching. From _graffiare_, used in this sense comes the better known word _graffito_.

GRANAGLIA: grains, or granulated metal for filigree. Tra. 20.

GRANATO: the garnet. Tra. 39.

GRANIRE: a method employed in embossing metal for working over the backgrounds with a sharp-pointed steel tool. Tra. 92.

GRANITURA: beading, _e.g._, around a coin. Tra. 112, 114.

GRATICOLA, GRATICOLETTA, GRATICOLINA: a grating, a grill. Tra. 126, 190.

GRATITUDINE: the gratefulness, charm, or delicacy of a stone. Tra. 38.

GRATTAPUGIA: a scratch-brush. GRATTAPUGIARE: to clean or polish with the scratch-brush. Tra. 148.

GREMBUILO: an apron. V. (l.).

GRISOLITA: the chrysolite. Tra. 39.

GRISOPAZIO: the chrysoprase. Tra. 39.

GROSSERIA: metal work of the larger sort, as opposed to _minuteria_. Our term, hammered hollow ware, would partly express it. It mainly included the beating of large vessels into shapes, but it did not exclude the processes of casting.

IACINTO: the jacynth. Tra. 39.

IMBRACCIATOIE: special tongs for holding earthenware crucibles. Tra. 124, 137.

INCARNATO: flesh-tinted, as of stones or enamels. Tra. 33, 195.

INDACO: indigo. Tra. 60.

INDOLCIRE: to soften, as of the tempering of steel. Tra. 112, 117.

INFRANGERE: to beat or dent in as opposed to cutting out or removing the surface of metal. Tra. 75.

INTACCARE: to notch, to cut a tally, _intaccatura_, in metal. INTACCATO: notched. Tra. 142.

INTAGLIO, INTAGLIARE: cutting in intaglio; more generally, carving. INTAGLIATORE: a carver.

INTERSEGARE: to cross or plait, of wire. Tra. 138.

INTRONARE: to crack or spring, of stone beneath the chisel. Tra. 199.

ISPIANARE: to plane or pare the metal plate. Tra. 117. _See_ RASOIO.

ISVIVATOIO: _see_ AVVIVATOIO.

LAGRIME DI MASTICO: tears of mastic, used in stone-setting. Tra. 59.

LAMA: a band, as of hoop iron. Tra. 125.

LAMINE: plates of metal. Tra. 141.

LAMPEGGIARE: to flash, glow, or blaze, as of a red stone. Tra. 74.

LASAGNA: the coating of wax, clay, or paste, applied to the mould of a casting. Tra. 137, 168, 170.

LEGA, LEGHA: alloy; also generally, for the metal of a setting, and so of a setting itself. Tra. 144. V. 424. LEGARE: to set. Tra. 8, 37, 41.

LEGATURA: setting. Tra. 43.

LEGNETTE, LEGNUZZI: faggots; small logs or pieces of wood for burning. Tra. 17, 22.

LEVARE: to remove or cut away, as of metal background to be removed with the chisel. Tra. 75.

LIMA: a file, of which Cellini describes several sorts, _e.g._, LIMA A COLTELLA, LIMA MEZZA TONDA, LIMA RASPA. Tra. 198. LIMARE: to file. Tra. 20.

LIMATURA: filings, as of the solder, _limatura di saldatura_, sprinkled over the filigree. Tra. 21.

LIMUZZA: Tra. 92. _See_ LIMA.

LINGUA DI VACCA: a cows’ tongue stake head. Tra. 132.

LISTRE DI FERRO: bands of iron, as of the bands used for holding together the moulds in bronze casting. Tra. 183.

LOPPA: dregs, lees, scum, as of the glass scum, _loppa di vetro_, in the metal vent of the crucible described. Tra. 198.

LORDO: greasy, as of the surface of metal in the working. Tra. 28.

LORDURA: literally _lordura di untume_, fatty substance, removable with aquafortis. Tra. 31.

LOTO: a paste or composition, as of ashes. Tra. 126. Also a luting, as of the closing of the joints in an alembic. Tra. 156.

LUSTRO: the shine or glimmer on the metal left by the use of the punches, &c. Tra. 28, 195.

MACINARE: to pound. Tra. 104, 148.

MADRE: the matrices of the dies; the mother punches. Tra. 118.

MAGLIA, MAGLIETTA: an eye or socket of iron fitted into the plaster mould of a casting. Tra. 167, 168.

MAGRO: coarse and thin; used of clay as distinguished from the rich and fatty quality. Tra. 163.

MANDORLA, MANDORLETTA: literally, an almond shape; used of jewellery thus shaped, & of the shapes of Cardinals’ seals. Tra. 20, 99.

MANDRIANO: an iron crook; a pole fitted at the end with a curved iron. Tra. 176, 181; V. 421.

MANICA: a funnel shaped furnace (S.). V. li.

MANICO: a handle. Tra. 107, 137.

MANIGLIA: a bracelet. Tra. 37.

MANTACO, MANTACETTO, MANTACUZZO, MANTICHE, MANTICO, MANTICETTO: a pair of bellows. Tra. 15, 17, 34, 74, 124. MANTACETTO A MANO: the hand-bellows. Tra. 144.

MARTELLO, MARTELLETTO, MARTELLINO: a hammer, whether of wood or iron. Tra. 32, 78. MARTELLO A DUE MANI: a large hammer wielded with both hands, commonly called _mazzetta_. Tra. 121.

MASCHERA, MASCHERETTA: a mask, a favourite form in Renaissance design. Tra. 137.

MASELLI (DI RAME): sizes of copper. V. 420.

MASTICO: the varnish resin, commonly called gum mastic. Tra. 57. _See_ also LAGRIME.

MASTIO: the male screw; as in the process of striking coins with the screw. Tra. 122.

MATASSINA: a skein. Tra. 42.

MATITA ROSSA: red chalk; red hæmatite (Dict., Baretti); perhaps, jewellers’ rouge. Tra. 150, 152.

MATTONE, MATTONCELLI: tiles; baked bricks.

MATURO: ripe, mature, of the colour of the ruby. Tra. 38.

MAZZAPICCHIARE: to ram. Tra. 174.

MAZZAPICCHIO: a rammer; a wooden instrument three cubits long and widening to the bottom to a quarter of a cubit, used for tightening in the soil into the pit that contains the mould. Tra. 174.

MAZZETTA: _see_ MARTELLO.

MAZZUOLO: a mallet. Tra. 199.

MESTOLETTA: a spoon or ladle. Tra. 138.

MEZZANA: a flooring brick or tile. Tra. 175.

MEZZO TONDO: a half relief.

MIDOLLO: pith. MIDOLLO DI CORNA: pith of cornel wood. Tra. 103.

MIGLIACCIO: a curdling of the metal. V. 423; Tra. 179.

MINUTERIA: small metal ware, as distinguished from _grosseria_.

MISURA DI CARBONE: troy weight. V. 205.

MODELLO, MODELLINO, MODELLETTO: a model.

MOLLA, MOLETTE: a pair of tongs or pliers. Tra. 21, 125.

MORDERE: to bite, cut, or wear away, as of the cutting of the diamond by the diamond. Tra. 52.

MORTAIO: a mortar. Tra. 125.

NASTRETTO, NASTRETTINO: a streak or strip. Tra. 97, 25.

NIELLARE: to work in niello, of which the various processes are described in Tra., Ch. I.

NOCCIOLO: the ‘kernel,’ or the framework of clay or iron that fits into a casting, and tallies in its various parts with the _lasagna_ or coating of the mould. Tra. 173, 183.

NOTTOLINO: any little knot or tie of metal in jewellery. Tra. 94.

OCCHIO DI GATTA: the cats’ eye stone. Tra. 43.

OLIO DI GRANA: linseed oil. Tra. 58. OLIO DI MANDORLE: almond oil. Tra. 59. OLIO D’OLIVA: olive oil. Tra. 59.

ORIVUOLO: a clock. Tra. 11.

ORLO: a ridge or mound of wax, _e.g._, round the copper etching plate. Tra. 155.

ORO MATTO: dull gilding. Tra. 210.

OSSATURA: the framework or sketch upon which the various portions of a colossus are pieced. Tra. 209.

OTTAVO: a species of silver solder formed of one-eighth part of an ounce of copper to one ounce of silver. Tra. 143.

OTTONAIO: a brass caster. Tra. 120.

OVATO: an octagonal or eight-sided figure or arrangement. Tra. 97.

OVOLATORO: a metal founder. V. 121. OVOLATORE DI ZECCA: metal founders of the mint (S.).

PADIGLIONI: the pavilion or back facets of a stone. Italian stone-cutters distinguish in a stone the following parts: _il bordo_, _la tavola_, _le facette_, _i padiglioni_.

PAGONAZZO: peacock blue. Tra. 38.

PAIUOLO: a pail. Tra. 164.

PALA: a spade; a shovel. Tra. 177.

PALETTA, PALETTINA: a palette or placque, as of iron. Tra. 192.

PALETTIERE: a hand-shaped palette, such as Cellini constructed specially on a leaden stand to hold enamels. Tra. 32, 36.

PALLA, PALLOTTOLA: a ball; a sphere. Tra. 79, 97.

PANE: pig or cake, _e.g._, of metal. Tra. 73, 181. PANE DELLA VITE: the threads of a screw. Tra. 122.

PANNACCIO LINO: a linen rag. Tra. 16.

PARTIRE (ACQUA DI): the acid into which you put alloys and clippings, filings, &c. PARTIRE: to separate gold from silver, or silver from copper, or gold from gilt copper. Tra. 155, 156. PARTITORE: the man who exercises this craft.

PASTA: a paste; a coating. Tra. 148, 166.

PECE GRECA: powdered resin (white pine) from which the oil has been evaporated over hot water. Tra. 27. _See_ also Hendrie’s ‘Theophilus,’ p. 70.

PELLE: a skin, surface, or coating, _e.g._, of metal or stone; also of the working of the tools over a surface. Tra. 92, 96, 128, 134, 200.

PENDENTE: a pendent.

PENDIO: a fall, as of the fall in a furnace. Tra. 186.

PENNA: the thin end of a hammer. Tra. 130, 132.

PENNELLO, PENNELLETTO, PENNELLINO: a paint brush of hog’s hair or sable, &c. Tra. 21, 93, 104.

PENTOLINO: a vase or pipkin. Tra. 153.

PERLA, PERLETTE: a pearl.

PESTARE: to pound. Tra. 31. PESTATA: the substance pounded. Tra. 93.

PIANO DEL MARTELLO: _see_ PENNA.

PIASTRA, PIASTRETTA: a plate; as in PIASTRA DI RAME: a copperplate. Tra. 13.

PICCIUOLETTO: _see_ GAMBETTO.

PIEGATO: bent, inclined, as of the tool described. Tra. 128.

PIEGHETTA: used by Cellini to describe little raised carved pips or patterns on the metal field with a view to their showing through the translucent enamel to express damask or diaper, &c. Tra. 28.

PIENO: full, rich; of the colour of a stone. Tra. 38.

PIETRA FORTE: a stone used by the Florentine sculptors; of hard substance & tan coloured, & found in small quantities in the neighbourhood of Florence. Tra. 202. PIETRA MORTA: quarry stone; in general, of any rough stone fragment. Tra. 187, 189. More specifically of a soft tan coloured stone found in the vicinity of Florence, and much used because of its durability for all sorts of carving. Tra. 202. PIETRA SERENA: a very soft, blue-grey coloured stone found in large quantities in the neighbourhood of Fiesolé and Settignano, but used mostly for internal work owing to its want of durability. Tra. 201.

PIETRUCCOLA, PETRUCCOLA, PIETRUZZA: a little stone or gem. Tra. 69, 163.

PIGLIARE: to take, generally. PIGLIARE IL CALDO: to take the heat; to grow warm, _e.g._, of the enamel plate when held to the furnace before its insertion. Tra. 34.

PIGNATTA: any large receptacle. Tra. 136, 155.

PIGNERE: to paint; to streak or paste over as with liquid gesso. Tra. 101, 104.

PILA: the lower of the two dies for minting, fashioned in the form of a small stake or anvil, and described with the whole process. Tra. 111, 113. _See_ also TORSELLO.

PIOMBO: the bureau for affixing the leaden seals to papal bulls; an ecclesiastical office in Rome sometimes given to laymen (S.). V. 125.

PITTORACCIO: an indifferent painter. Tra. 84.

PIVIALE: a cope. Tra. 49, 80.

POMICE, POMMICE: pumice stone. Tra. 92.

PORFIDO: porphyry. Tra. 30.

PRASMA: the plasma; possibly, the prase. Tra. 39.

PRATICA, PRATICACCIA: the practice or practical skill as distinguished from the theory or scientific study of a craft. Tra. 27, 42. CONTINOVA PRATICA: workshop tradition. PRATICO, PRATICONE: a craftsman, a professional, as opposed to an amateur. Tra. 11.

PRATICONACCIO: a humbug or pretender at a craft; a botcher. Tra. 6.

PROFFESIONE: the practice of an art. Tra. 46. _See_ PRATICA.

PROFILARE, PROFFILARE: to outline, _e.g._, as of the outlining with the punches in embossed work. Tra. 133. PROFILO: an outline.

PUGNELLETTO: a pinch; a small quantity. Tra. 168.

PULIRE A MANO: to hand polish; of a method of finishing enamel by scouring it with tripoli. Tra. 35.

PULITEZZA: precision; neatness; cleanness of execution (S.). What in a modern workshop one might call ‘finish,’ in contradistinction, however, to ‘trade finish.’

PUNTA (IN): point cut, as applied to a stone. Tra. 51. V. 393.

PUNTALO: buckles or pins for belts. Tra. 20.

PUNTERUOLO: a pin or skewer. Tra. 38.

PUNZONE, PUNZONCINO, PUNZONETTO: a punch, in various uses.

RADERE: to plane or pare, as of a metal plate. Tra. 48, 128, 129.

RAFREDDO: cooled. Tra. 171.

RAMAIUOLO: a ladle. Tra. 127.

RAMO: a pipe. RAMO DI GITTO: the conduit of a casting. V. li., 418.

RAPPEZZARE: to patch up, to re-piece, as of the holes in the hammered gold coating upon bronze figures. Tra. 83, 199.

RAPPRESO: set or hardened from cooling, _e.g._, of metal in the furnace. Tra. 179.

RASOIO: a razor, a sharp flat knife. Tra. 128.

RASTIARE: to scrape. Tra. 59. RASTIATOIO: a scraper, or instrument used for assisting the flow of the bronze into the mould. Tra. 177.

RASTRELLO: a special sort of rake constructed to rake over the cinders from the ash-pit in bronze casting. Tra. 191.

RENELLA DI VETRO: glass-paper. Tra. 76.

RIARDERE: to scorch up, to harden from heat. Tra. 59, 124.

RIBOLLIRE: to re-heat, to consume with heat, to burn, as of the wax in the gesso mould, from too rapid heating. Tra. 22, 172.

RICERCARE: to search out, to pick out with the tools; _e.g._, of the minute workmanship on a highly-wrought piece of repoussé. Tra. 95.

RICESELLARE: _see_ CESELLO.

RICORRERE: to run together, as of different solderings in later firing. Tra. 75.

RICUOCERE: to heat, to put to the fire, to anneal. Tra. 25, 142.

RIGAGUOLO: a gully. Tra. 186.

RIGONFIARE: to swell or bubble up. Tra. 151.

RILEVARE: to raise, boss or work up into relief. Tra. 78.

RIMACINARE: to pound or mix together. Tra. 153.

RIMBOTTARE: to refill. Tra. 127.

RIMENARE: to stir. Tra. 153.

RINALZARE: to boss or beat out from within. Tra. 134.

RISCHIARE: to clean. Tra. 154.

RISERRARE: to stop or fill up, as of the bubble holes in niello work. Tra. 18.

RISTIARARE: Tra. 151. _See_ RISCHIARE.

RITONDARE: to round or body a piece of work, _e.g._, of Michael Angelo’s method of hewing his figures from the stone direct, without recourse to the clay model. Tra. 199.

RITURARE: Tra. 18. _See_ RISERRARE.

ROSTA: a fan or blower. Tra. 144.

ROVESCIO: the reverse of a medal.

RUBINO BALASCIA: _see_ BALASCIA.

RUOTA: a wheel, as of the steel wheel on which diamonds are cut. Tra. 52.

SACCACCIO: a sack or a piece of sack cloth. Tra. 16.

SALDARE: to solder. Tra. 21, 73, 90. SALDARE A CALORE: a term used by Cellini of the first soldering given to a piece of minuterie work; it should be, says he, termed rather, ‘firing in one piece,’ than soldering. Tra. 73, 74.

SALDATURA: solder. Tra. 75, 143. And of its various consistent alloys in _saldatura di lega_, _di ottavo_, _di quinto_, _di terzo_. _See_ also LIMATURA.

SALE ARMONIACO: sal ammoniac. Tra. 73.

SALIERA: a salt cellar.

SALNITRO: saltpetre.

SANGUE DI DRAGO: dragon’s blood. Tra. 44.

SAVORE: an ointment; a paste.

SBIANCATO: bright, clean, as of fresh grains of mastic. Tra. 57.

SBORRACIATO: free from borax, _e.g._, of filigree work after it has been cooked in the tartar solution. Tra. 22.

SCAGLIA, SCAGLIETTA DEL FERRO: scale of iron. Tra. 114.

SCALDARE: to anneal. Tra. 131, 151.

SCANTONATO: to round or trim off, as of the edges of a metal plate in its first stages to the cup form. Tra. 130.

SCARPELLO, SCARPELLETTO: any chisel or cutting tool, and of its different sorts, _e.g._, SCARPELLO AUGNATO: the wood-carvers’ chisel, and SCARPELLO A UNA TACCA: a notched chisel. Tra. 21, 199.

SCASSARE: to open; to unpick; as of the setting of a stone. Tra. 43.

SCATOLETTO, SCATOLINA: a little box or casket. Tra. 85.

SCHIACCIATO: _see_ STIACCIATO.

SCHIUMA: _see_ STIUMA.

SCHIZZARE: to crack or spring, as of enamel. Tra. 28.

SCIOGLIERE: to take out, as of a stone from the setting. Tra. 43.

SCIORRE: _see_ SCIOGLIERE.

SCODELLA, SCODELLETTA, SCODELLINO: a pipkin or pot, of glass, earthenware, or metal. SCODELLINO INVETRIATO: a glazed earthenware pipkin.

SCOPETTA: a rod of birch or twigs. Tra. 150.

SCOPRIRE: to uncover, disclose, lay bare. Tra. 198.

SCORRERE: to run, as of enamel in the firing. Tra. 25.

SCORZA: bark, crust. Tra. 196.

SCREPOLATURA: a crevice, crack, fissure. Tra. 188.

SCUFFINA: _see_ LIMA RASPA.

SERPENTINO: a serpentine stone. Tra. 30.

SERRARE: to set. Tra. 41. _See_ also ACCONCIARE, LEGARE.

SESTA, SESTOLINA: the compasses. Tra. 27, 111. SESTA IMMOBILE: compasses of which the legs were fixed to a definite angle; used (as in marking out medals) for striking a number of equal circles. Tra. 117.

SETOLA, SETOLETTA, SETOLINA: a brush, usually of hog sables. Tra. 16, 74, 94.

SFASCIATA: freed; disconnected from, as of a mould freed from the bricks in which it is baked. Tra. 172, 173.

SFIATATOIO: a vent hole in a _cire perdue_ casting. SFIATARE: the verb form of the same word used of the working of the _sfiatatoi_. Tra. 137, 170, 173.

SFOGLIETTA, SFOGLIETTINA: a blemish, a roughness; as a rule some surface scaling of the metal. Tra. 129, 133.

SFUMMARE: to steam. Tra. 151.

SILIMATO: _see_ SOLIMATO.

SMALTO, SMALTARE: enamel; the art of enamelling; to enamel. SMALTO ROGGIO: a particular kind of red enamel described by Cellini. Tra. 36. Also SMALTO ROSSO TRANSPARENTE.

SMERALDO: an emerald. Tra. 40.

SMERIGLIO: the stain or blemish in marble. Tra. 196.

SODO: the base. Tra. 96.

SOFFIARE: to bubble or blow; of metal flowing into a mould for which the vents have been improperly prepared. Tra. 181.

SOFFREGARE: to rub; as of stone against stone in the cutting of the diamond. Tra. 52.

SOLIMATO: corrosive sublimate. Tra. 155.

SOPPANNATO: match-boarded. Tra. 206.

SOTTIGLIEZZA: delicacy; subtle detail in a piece of work. Tra. 164, 166.

SOTTO SQUADRO: undercutting. Tra. 141.

SPADAIO: a sword cutler. Tra. 49.

SPAGHETTO: string. Tra. 171.

SPALLA, SPALLETTA: shoulder, end, roof; as of the ends of the furnace bed, or the ramparts of earth around a wax seal that is to be cast. Tra. 105.

SPANNARE: to spread or paint over. Tra. 150.

SPAZZATURE: sweepings; refuse of old bits of metal in goldsmiths’ work. V. 20.

SPECCHIETTO: the reflector, or piece of square glass set beneath a diamond in the bezel; sometimes in conjunction with the process of tinting. Tra. 65. _See_ also TINTA.

SPEGNERE: to dip or quench. Tra. 48.

SPIANARE: to smooth, planish, polish; as of enamels with the _frasinelle_; or a metal plate before commencing work. Tra. 21, 26.

SPICCARE: to pick out or raise, as of a figure from its background. Tra. 78.

SPINA: a plug, as at the outlet hole of a furnace, & thus used for the outlet hole itself. Tra. 172; V. li., 421. _See_ also BOCCA DELLA SPINA.

SPINELLA: spinell. Tra. 39.

SPINGERE: _see_ SPICCARE.

SPOGLIA: the shell or outer mould of a _cire perdue_ casting between which and the core, _nócciolo_, is the cavity which subsequently receives the bronze. Tra. 173. _See_ also TONACA.

SPOLVEREZZO, SPOLVERIZZATO: _see_ AFFUMARE.

SPORTELLI, SPORTELLETTI: the doors of a furnace; the little doors that open into any closed fire place. Tra. 191, 193.

SPRUZZARE: to sprinkle. Tra. 74.

SPUGNUZZE: bubble holes. Tra. 18.

STACCIARE: to sift. STACCIO: a sieve. Tra. 138.

STAFFA: a frame, _e.g._, the frame for sand casting, or for holding dies for stamping. Tra. 132.

STAGNO: pewter. V. 424; Tra. 176.

STAGNUOLO: tinfoil. Tra. 165. _See_ also FOGLIA.

STAMPA: a die for minting. V. 114; Tra. 108, 116. STAMPARE: used in several senses, _e.g._, to cut or engrave into metal generally. Tra. 14. To make medals of coins. Tra. 110, 119. To make an impression as of a seal. Tra. 100.

STECCA: a board. Tra. 27.

STIACCIARE: to stretch or flatten. Tra. 25.

STIACCIATINA: a flat cake. Tra. 103.

STIANTARE: to chip; to split. Tra. 196.

STILETTO: a style, as of the burnished steel style with which Cellini outlined on metal. Tra. 133.

STIUMA: scum, as of the lead in the crucible for niello. Tra. 15.

STOPPA: putty. Tra. 174.

STRACCIO: a rag. Tra. 137, 173.

STRACCO: spent, as of cinders. Tra. 145.

STROFINARE: to scour; to polish; as of the dies on a wooden board with iron scale. Tra. 114.

STUCCO: a composition variously described as of pounded brick, yellow wax. _See_ PECE GRECA. Tra. 27, 75. STUCCARE: to paste or cake over with _stucco_ or other earthy substance.

SUBBIA, SUBBIETTA: sculptors’ chisels. Tra. 198.

SUCCHIELLETTO, SUCCHIELLINO: a tool of the nature of a gimlet. Tra. 168, 170.

SUGHERO: cork, as of the cork tipped with iron scale for cleaning out dies. Tra. 114.

TACCA: a notch. Tra. 198.

TAGLIA: a pulley. Tra. 173.

TANAGLIA, TANAGLIETTA: tongs. Tra. 52, 119.

TANE: tan coloured.

TASSELLI: the dies for stamping medals as distinguished from those for stamping coins, which were termed _pila_ and _torsello_. Tra. 117.

TASSELLINO: a little cup or clip, as of the metal cup in which the diamond is set against the wheel. Tra. 52.

TASSETTO: a stake or stake head. TASSETTINO TONDO: a rounded stake head. Tra. 48, 78.

TAVOLA (IN): table cut, as applied to a stone. V. 393; Tra. 51.

TEMPERARE: to temper steel. Tra. 114, 119.

TESSUTO: a woven fabric; also for the alternate or reticulated arrangements of bricks in furnace construction. Tra. 125.

TINTA: _dare la tinta_ or _tingere_, a process used in jewellery of blackening the bezel to give value to diamonds. Tra. 37, 52, 60.

TIRARE: Cellini uses this word in several technical senses in relation to metal work, _e.g._, to lay or prepare a plate or sheet of metal. Tra. 72. To prepare the threads for filigree. Tra. 20. Or more generally, to bring into shape with the hammer. Tra. 129. TIRARE DI MARTELLO: hammer work. Tra. 48, 140. In another sense the word is used as of translating from a small to a large scale. Tra. 203.

TONACA: the tunic or outside mould of a _cire perdue_ casting, between which and the _anima_, or inner block, the metal ran, displacing the wax. V. 421; Tra. 171. Also generally, of a coat of gesso.

TOPAZIO: a topaz.

TORCERE: to twist or warp. Tra. 168.

TORSELLO: the upper of the two dies for minting. Tra. 111. _See_ PILA.

TRAFORARE: to fashion the forms or perforations of filigree work. TRAFORO, TRAFORETTO: a filigree scroll or perforation.

TRAPANO: a borer. Tra. 198. TRAPANO A PETTO: described as a larger sort of borer. Tra. 199.

TRARRE DI FUOCO: described by Cellini as being the technical term for completing the process of soldering before the commencement of the cleaning, &c. Tra. 91. TRARRE DI PECE: similarly described as the term for carrying the work of embossing and chasing through to the moment of removing the pitch. Tra. 134, 135.

TREMENTINA: turps.

TRIPOLO: Tripoli clay; a silicious earth consisting of the remains of diatoms. Tra. 103.

TUFO or ARENA DI TUFO: a sand tufa, a volcanic spongey rock like pumice, used for silver casting. Tra. 102.

TURCHINA: a turquoise.

UNTICCI: messy; untidy. Tra. 28.

UNTUME: grease or fat, used in soldering. Tra. 143, 144.

USCITE: the issues for the metal in a casting. V. 417.

VERDEMEZZO: a term signifying not too dry nor yet too moist, probably tacky. Tra. 104.

VERDERAME: verdigris, _i.e._, acetate of copper. Tra. 73, 93, 94.

VERDOGNOLO: greenish; used in describing the colour of stone. Tra. 200.

VERMIGLIA: the vermeil. Tra. 39.

VERNICE: varnish. VERNICE ORDINARIA: described as the ordinary varnish used for sword hilts. Tra. 155. VERNICIARE: to varnish.

VESCICA: a crack or flaw, _e.g._, in glass. Tra. 65.

VESTA, VESTIRE: _see_ TONACA.

VETRIVUOLO, VETRIVUOLO ROMANO: Roman or green vitriol, _i.e._, sulphate of iron. Tra. 150, 152.

VIRTU: a word used with many and double senses. For its larger uses _see_ Symonds’ ‘Vita,’ _passim_. In its more technical uses Cellini has _virtù_ for the glory of a ruby. Tra. 42. VIRTU DEL MARTELLO: excellence of hammer work. VIRTU DEI FERRI: general technical ability with punches and chisels.

VITE: a screw. VITE FEMMINA: the female screw as used in minting with the screw process; and termed also FEMMINA & CHIOCCIOLA, which _see_.

VIVACITA: the flash and brilliancy of a stone. Tra. 66.

VOLTO: turned, bent, _e.g._, of the form of a semi-ring punch. Tra. 133.

ZAFFIRO: the sapphire. Tra. 40, 66.

ZAFFO DI FERRO: a stopper of iron. Tra. 189.

ZANA: a division or space. Tra. 97.

ZECCA: the mint. Tra. 115.

HERE END THE TREATISES OF BENVENUTO CELLINI ON METAL WORK AND SCULPTURE, MADE INTO ENGLISH FROM THE ITALIAN OF THE MARCIAN CODEX BY C. R. ASHBEE, AND PRINTED BY HIM AT THE GUILD’S PRESS AT ESSEX HOUSE, WITH THE ASSISTANCE OF LAURENCE HODSON WHO SOUGHT TO KEEP LIVING THE TRADITIONS OF GOOD PRINTING REFOUNDED BY WILLIAM MORRIS, THE MASTER CRAFTSMAN, AND LIKEWISE OF T. BINNING & J. TIPPETT, COMPOSITORS, AND S. MOWLEM, PRESSMAN, WHO CAME TO ESSEX HOUSE FROM THE KELMSCOTT PRESS TO THAT END. BEGUN APRIL, 1898; FINISHED OCTOBER, 1898.

[Illustration: GUILD 1888]

Published by EDWARD ARNOLD, 37 Bedford Street, Strand; and of the 600 copies printed, this copy is No. 431

ERRATA.

Page 28, _for_ but putting it in water, not cooling it with the bellows, _read_ but not putting it in water, nor cooling it with the bellows.

Page 150, _for_ CIAPPOLINTA _read_ CIAPPOLINA.

_BACK PUBLICATIONS OF THE GUILD & SCHOOL OF HANDICRAFT BEFORE THE STARTING OF THE PRESS AND OF WHICH A FEW COPIES YET REMAIN._

THE TRANSACTIONS OF THE GUILD & SCHOOL OF HANDICRAFT, Vol. I. Edited by C. R. ASHBEE: Preface by G. F. Watts, R.A.; Lectures, Addresses, Recipes, by Alma Tadema, R.A., W. Holman Hunt, Henry Holiday, T. Stirling Lee, E. P. Warren, Walter Crane, W. B. Richmond, A.R.A., &c. Large Paper Copies, £1 1s.; Ordinary Paper Copies 7s. 6d. Set of proofs on hand-made Japanese vellum coloured & 10s. 6d. Bound in cow-hide, pressed, chased, gilded £2 2s. to £5 5s.

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TRANSCRIBER’S NOTES

Illustrations in this eBook have been positioned between paragraphs and outside quotations.

Titles from the List of Illustrations and List of Diagrams have been applied to the images as captions. The second jewellery illustration has a new caption, as the one from the index would be confusing out of context. Illustrations that did not have a title have had a descriptive caption added, these are indicated with parentheses.

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Some hyphens in words have been silently removed, some added, when a predominant preference was found in the original book.

Errata listed on page 167 have been applied to the text. Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

Pg xi: “᾿ευηθεια” replaced with “εὐηθεια” Pg 4: “dalla Golpaia” replaced with “della Golpaia” Pg 20: “jewelry” replaced with “jewellery” Pg 23: “crysolite” replaced with “chrysolite” Pg 34: “Miliano Larghetta” replaced with “Miliano Targhetta” Pg 48: “Girolamo” replaced with “Girolano” Pg 52: “Fillippo Brunellesco” replaced with “Filippo Brunellesco” Pg 54: “hostting” replaced with “hosting” Pg 54: “comissioned” replaced with “commissioned” Pg 62: “occuring” replaced with “occurring” Pg 63: “where-ever” replaced with “wherever” Pg 76: “anealing” replaced with “annealing” Pg 78: “softenening” replaced with “softening” Pg 84: “set too right” replaced with “set to right” Pg 97: “avvivitoio” replaced with “avvivatoio” Pg 105: ‘Cennino Cenini’ replaced with ‘Cennino Cennini’ Pg 114: “Aliquanto” replaced with “Alquanto” Pg 118: “earthern” replaced with “earthen” Pg 128: “accomodate” replaced with “accommodate” Pg 134: “Buonarotti” replaced with “Buonaroti” Pg 135: “wants it to he particularly” replaced with “wants it to be particularly” Pg 149: “calcedony” replaced with “chalcedony” Pg 151: “guage, _e.g._, Birmingham guage” replaced with “gauge, _e.g._, Birmingham gauge” Pg 152: “special meth” replaced with “special method” Pg 160: “fiigree” replaced with “filigree” Pg 160: “aneal” replaced with “anneal”.