There lived at the same time another goldsmith called Maso Finiguerra, who had an extraordinary fame, and deservedly, since there had never been seen any master of engraving and of niello who could make so great a number of figures as he could, whether in a small or in a large space; as is still proved by certain paxes in the Church of S. Giovanni in Florence, wrought by him with most minutely elaborated stories from the Passion of Christ. This man drew very well and in abundance, and in our book are many of his drawings of figures, both draped and nude, and scenes done in water-colour. In competition with him Antonio executed certain scenes, in which he equalled him in diligence and surpassed him in design; wherefore the Consuls of the Guild of Merchants, seeing the excellence of Antonio, and remembering that there were certain scenes in silver to be wrought for the altar of S. Giovanni, such as it had ever been the custom for various masters to make at different times, determined among themselves that Antonio also should make some. This came to pass; and his works turned out so excellent, that they are recognized as the best among them all. These were the Feast of Herod and the Dance of Herodias; but more beautiful than anything else was the S. John that is in the middle of the altar, a work wrought wholly with the chasing-tool, and much extolled. For this reason he was commissioned by the said Consuls to make the candelabra of silver, each three braccia in height, and the Cross in proportion; which work he brought to such perfection, with such an abundance of carving, that it has ever been esteemed a marvellous thing both by foreigners and by his countrymen. [Illustration: SS. EUSTACE, JAMES, AND VINCENT (_After the panel by =Piero Pollaiuolo=. Florence: Uffizi, 1301_) _Alinari_] In this calling he took infinite pains, both with the works that he executed in gold and with those in enamel and silver. Among these are some very beautiful paxes in S. Giovanni, coloured by the action of fire, which are such that they could be scarcely improved with the brush; and some of his marvellous enamels may be seen in other churches in Florence, Rome, and other parts of Italy. He taught this art to the Florentine Mazzingo and to Giuliano del Facchino, both passing good masters, and to Giovanni Turini of Siena, who surpassed these his companions considerably in that profession, in which, from Antonio di Salvi--who made many good works, such as a large silver Cross for the Badia of Florence, and other things--to our own day, there has been nothing done than can be held in particular account. But of his works and of those of the Pollaiuoli many have been destroyed and melted down to meet the necessities of the city in times of war.