the aspect of the monument, which is fresh in my memory, do not authorize me to suspect the existence of a fraud.] [Footnote 97: Christ in the manger.] [Footnote 98: Heineken gives a general nomenclature of the works of these silver carvers. Idéé, &c. p. 217]. [Footnote 99: I must remark, that some copper of the earliest age may have been preserved and made use of after the introduction of felt and of the press. In this case there will remain no impression of the linen cloth, but the print will be poor and faint.] [Footnote 100: In the prints of Dante, and other Florentine books, a yellowish colour prevails; and we may observe stains of oil and blots at the extremities. A pale ash colour was also used for wood prints by the Germans, and Meerman remarks that it was employed to counterfeit the colour of designs.] [Footnote 101: See Lettere Pittoriche, tom. ii. p. 268.] [Footnote 102: Ibid. p. 269. I should add, that the twenty others are now known, obtained for the Riccardi library at Florence.] [Footnote 103: Lettere Pittoriche, tom. ii. p. 267. It is ascertained that Maso flourished less recently; and the Dante prints, inferior to those of Botticelli, were ascribed to him only on account of their coarseness, as we gather from Gaburri.] [Footnote 104: It is denied that he was the inventor of this mode of engraving by many learned Germans, who give the merit of it to Wolgemuth. Meerman, L. C. p. 256.] [Footnote 105: Notes to Baldinucci, tom. iv. p. 2.] [Footnote 106: It was observed, at p. 115, that the Epiphany of Maso is anterior to the work of the Assumption. The progress from the minute and careful, to the free and great style, is very gradual. The present work contains many examples of this, even in the loftiest geniuses, in Coreggio, and in Raffaello himself.] [Footnote 107: A sample of his ignorance appears in what he wrote of Demone; not well understanding Pliny, he did not believe Demone to be the fabulous genius of Athens; but set him down as a painter of mortal flesh and blood, and gave his portrait with those of Zeuxis, Apelles, and other ancient painters.] [Footnote 108: Origines Typographicæ, tom. i. p. 254.] [Footnote 109: Idéé Générale d'une Collection Complète d'Estampes, pp. 224, 116, where he gives his opinion on Sandrart's work. See also Dictionnaire des Artistes, vol. ii. p. 331.] [Footnote 110: He says that his cipher was M. C. which P. Orlandi reads Martinus de Clef, or Clivensis Augustanus. But he was not from Anversa; but was, according to Meerman, Calembaco-Suevus Colmariæ, whence we may explain the cipher to mean Martinus Colmariensis. In many of his prints it is M. S.] [Footnote 111: Called by Lomazzo "Israel Metro Tedesco, painter and inventor of the art of engraving cards in copper, master of Bonmartino," in which I think we ought rather to follow the learned natives already cited, than our own countryman.] [Footnote 112: Diction. des Monogram. p. 67.]