at Paris, where it is framed and hung up for the inspection of the curious. Rude, ill-drawn, grotesque-printed with some brownish fluid on the coarsest ill-coloured paper-still it is impossible to look at it without some of the curiosity, interest, and reverence with which we regard the first printed book, though it must be allowed that, in comparison with this first sorry specimen of a woodcut, the first book was a beautiful performance. Up to a late period the origin of engraving on copper was involved in a like obscurity, and volumes of controversy have been written on the subject-some claiming the invention for Germany, others for Italy: at length, however, the indefatigable researches of antiquarians and connoisseurs, aided by the accidental discovery, in 1794, of the first impression from a metal plate, have set the matter at rest. If to Germany belongs the invention of engraving on wood, the art of copperplate engraving was beyond all doubt first introduced and practised at Florence; yet here again the invention seems to have arisen out of a combination of accidental circumstances rather than to belong of right to one man. The circumstances, as well as we can trace them, were these : The goldsmiths of Italy, and particularly of Florence, were famous, in the fifteenth century, for working in Niello. They traced with a sharp point or graver on metal plates, generally of silver, all kinds of designs, sometimes only arabesques, sometimes single figures, sometimes elaborate and complicated designs from sacred and profane history. The lines thus cut or scratched were filled up with a black mass of sulphate of silver, so that the design traced appeared very distinct contrasted with the white metal: in Italy the substance used in filling up the lines was called, from its black colour, in Latin nigellum, and in Italian niello. In this manner church plate, as chalices and reliquaries; also daggersheaths, sword-hilts, clasps, buttons, and many other small silver articles, were ornamented: those who practised the art were called niellatori. According to Vasari's account, Maso Finiguerra was a skilful goldsmith, living in Florence; he became celebrated for the artistic beauty of his designs and workmanship in niello. Finiguerra is said to be the first to whom it accidentally occurred to try the effect of his work, and preserve a memorandum of his design, in the following manner:-Previous to filling up the engraved lines with the niello, which was a final process, he applied to them a black fluid easily removed, and then, laying a piece of damp paper on the plate or object, and pressing or rubbing it forcibly, the paper imbibed the fluid from the tracing, and presented a fac-simile of the design, which had the appearance of being drawn with a pen. That Finiguerra was the first or the only worker in niello who used this method of trying the effect of the work is more than doubtful; but it is certain that the earliest known impression of a niello plate is the impression from a pax now existing in the Gallery of Bronzes at Florence, executed by Finiguerra, and representing the subject we have often alluded to-the Coronation of A pax or pix is the name given to the vessel in which the consecrated bread or wafer of the sacrament was deposited. This vessel was usually of the richest workmanship, often enriched with gems. |