Finiguerra's great glory does not, however, lie in the solution of the practical difficulty. Amongst the Italians none before him had ever thought of trying to print from a work engraved in incised line or intaglio on metal; and therefore, at least, in his own country, he deserved the honours of priority. But the invention of the process--that is, in the absolute and literal sense of its name, the notion of reproducing burin work by printing--was certainly not peculiar to Finiguerra. Unconscious of what was passing elsewhere, he may have been the first in Florence to attempt this revolution in art; but, beyond the frontiers of Italy, many had already employed for the necessities of trade that method which it was his to turn into a powerful instrument of art. His true glory consists in the unexpected authority with which he inaugurated the movement. Although it may be true that there are prints a few years older than any Florentine niello--the German specimens of 1446, discovered but the other day by M. Renouvier,[15] or the "Virgin" of 1451 described by M. Passavant[16]--it cannot change the real date of the invention of engraving; that date has been written by the hand of a man of talent, the first engraver worthy of the name of artist. That Finiguerra was really the inventor of engraving, because he dignified the new process by the striking ability with which he used it, and proved his power where his contemporaries had only exhibited their weakness, must be distinctly laid down, even at the risk of scandalising some of the learned. He has the same right to celebrity as Gutenberg, who, like him, was but the discoverer of a decisive advance; the same right also as Nicolò Pisano and Giotto, the real founders of the race of the Great Masters, and, truly speaking, the first painter and the first sculptor who appeared in Italy, although neither sculpture nor painting were even novelties at the moment of their birth. As a mere question of date, the "Pax" of Florence may not be the earliest example of engraving; be it so. But in which of these earlier attempts, now so much acclaimed as arguments against the accepted tradition, can we glean even the faintest promise of the merits which distinguish that illustrious engraving? He who wrought it is no usurper; his fame is a legitimate conquest.