Искусства и ремесла Средневековья

Enamel

101

carrying it away froш the fire, make it smooth with а flat file, until the silveг appear." "'\Vhen Theophilus has finished his directions, he adds: "And take great саге that no further wшk is required." То polish the niello, he directs us to " puшice it with а damp stone, until it is made eveгy,vhere bright." There аге various accounts of how Finigueпa, who ,Yas а worker in niello i11 Florence, cliscoveгed Ьу its means the art of steel engraving. It is рrоЬаЫу only а legendary narrative, but it is al,vays told as one of the apocryphal stoгies \Vhen the 01·igin of printing is discussed, авd may not Ье out of place here. Maso Finiguerra, а Florentine, had just eпgraved the plate fог his famous niello, а Рах ,vhich is no,v to Ье seen in tlie Bargello, and had filled it in ,vith the fluid enamel, ,vl1ich was standing waitiпg until it shoнld Ье dry. Then, according to some authoгities, а piece of paper Ыеw нроn the dашр surface, 011 which, after cai·efully re­ moving it, Maso found his design ,vas impressed; others state that it was through the servant's laying а damp cloth upon it, that the principle of printing from an incised plate was suggested. At any rate, Finigueпa took the hint, it is said, and made an impression on paper, rolling it, as one would do ,vith an etching or engraving. In the Silver Chamber in the Pitti Palace is а Рах, Ьу Mantegнa, made in the same way as that Ьу Fini­ guerra, and bearing comparison with it. The engraving is most delicate, and it is difficult to imagine а better