The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyLanzi, Luigi
History
The History of Painting in Italy, Vol. 1 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
If it be the progress of the human mind to advance from the more easy to
more difficult discoveries, we may venture to suppose that the art of
engraving on wood led to that of engraving on copper; and so, to a
certain extent, it probably did. Vasari, however, who wrote the history
of Tuscan professors, rather than of painting itself, refers its origin
to works in _niello_, or inlaid modelling work, a very ancient art, much
in use, more especially at Florence, during the fifteenth century;
though it was quite neglected in the following, in spite of the efforts
of Cellini to support it. It was applied to household furniture, silver
ornaments, and sacred vessels, such as holy cups and vases, to missals
and other devotional books, and to reliquaries; as well as to profane
purposes, as adorning the hilts of swords, table utensils, and many
kinds of female ornaments. In some kinds of ebony desks and escrutoires
it was held in great request, for its little silver statues, and
modelled plates, representing figures, histories, and flowers. In the
cathedral of Pistoia there still remains a large silver palliotto,
adorned in places with plates, on which are figured images in niello,
and little scripture histories. The method was to cut with the chisel
upon the silver whatever history, portrait, or flowers, was
required,[91] and afterwards to fill up the hollow part of the engraving
with a mixture of silver and lead, which, from its dark colour, was
called, by the ancients, _nigellum_, which our countrymen curtailed into
niello; a substance which, being incorporated with the silver, produced
the effect of shadow, contrasted with its clearness, and gave to the
entire work the appearance of a chiaroscuro in silver. There were many
excellent _niellatori_, or inlayers, who cast models with this
substance, such as Forzore, brother to Parri Spinelli of Arezzo,
Caradosso and Arcioni of Milan;[92] and three Florentines, who rivalled
each other at S. Giovanni, Matteo Dei, Antonio del Pollaiuolo, and Maso
Finiguerra; specimens of whose _paci_, cut with wonderful accuracy,
acquired for them the highest reputation.
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