[Footnote 113: See Tiraboschi, 1st. Lett. tom. vi. p. 119.] [Footnote 114: The prints of Schön, even such as represent works in gold and silver, are executed with admirable knowledge and delicacy. Huber, tom. i. p. 91.] [Footnote 115: The Florentine merchants, during the fourteenth and fifteenth centuries, especially such as advanced money upon interest, abounded in Germany; insomuch that part of a town was called _Borgo Fiorentino_. This I learn from Dottore Gennari, a Paduan gentleman, not long since lost to the republic of letters. The number of German Princes who coined money in Florence, may be gathered from the work of Orsini, and other writers, upon our modern coinage.] [Footnote 116: The direction given by the Ab. Zani for similar specimens is this: "The engravings of the Venetian school, generally speaking, are of a delicate, soft, and full design; the figures are large, few, and very beautiful in the extremities. Those of the Florentines are engraved in a stronger manner, and are less soft and round; sometimes even harsh; the figures are small, pretty numerous, with the extremities less highly finished." Materiali, p. 57.] [Footnote 117: Cellini, in his preface to his Treatise upon the art of working in gold, asserts that Maso himself copied from the designs of Pollaiuolo, which has been completely refuted by the Ab. Zani. Materiali, p. 40.] [Footnote 118: Boccaccio, Decamerone, Giorn. vi. Nov. 6.] [Footnote 119: See Taia, Description of the Vatican Palace, p. 404].