It would take too long if I were to speak of all those who execute portrait-medals of wax, seeing that every goldsmith at the present day makes them, and a number of gentlemen have given their attention to this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso de' Giugni at Florence, and very many others, of whom I shall not now say more. And, to bring this account to conclusion, I return to the steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master of chasing and of copper-engraving, and another, at Florence, is Domenico Poggini, who has made, as he still does, dies for the Mint, with medals of Duke Cosimo, and who also executes statues of marble, imitating, in so far as he is able, the rarest and most excellent masters who have ever produced choice works in these professions. FOOTNOTE: [12] Giovanni of the Cornelians. [13] Domenico of the Cameos. MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF PRINTS Seeing that in the Treatise on the Technique of Painting there was little said of copper-plate engraving, since it was enough at that time to describe the method of engraving silver with the burin, which is a square tool of iron, cut on the slant, with a sharp point, I shall use the occasion of this Life to say as much on that subject as I may consider to be sufficient. The beginning of print-engraving, then, came from the Florentine Maso Finiguerra, about the year of our salvation 1460; for of all the works which that master engraved in silver with designs to be filled up with niello, he took impressions in clay, over which he poured melted sulphur, which reproduced the lines of the design; and these, when filled with smoke-black mixed with oil, produced the same effect as the silver. He also did the same with damped paper and with the same tint, going over the whole with a round and smooth roller, which not only gave the designs the appearance of prints, but they also came out as if drawn with the pen. This master was followed by Baccio Baldini, a goldsmith of Florence, who, not having much power of design, took all that he did from the invention and design of Sandro Botticelli. And this method, coming to the knowledge of Andrea Mantegna in Rome, was the reason that he made a beginning with engraving many of his works, as was said in his Life.