tir it evenly with
charcoal, and instantly pour into it lead and sulphur." This niello
paste is then made into a stick, and heated until "it glows: then
with another forceps, long and thin, hold the niello and rub it
all over the places which you wish to make black, until the drawing
be full, and carrying it away from the fire, make it smooth with a
flat file, until the silver appear." When Theophilus has finished
his directions, he adds: "And take great care that no further work
is required." To polish the niello, he directs us to "pumice it
with a damp stone, until it is made everywhere bright."

There are various accounts of how Finiguerra, who was a worker
in niello in Florence, discovered by its means the art of steel
engraving. It is probably only a legendary narrative, but it is
always told as one of the apocryphal stories when the origin of
printing is discussed, and may not be out of place here. Maso
Finiguerra, a Florentine, had just engraved the plate for his famous
niello, a Pax which is now to be seen in the Bargello, and had
filled it in with the fluid enamel, which was standing waiting
until it should be dry. Then, according to some authorities, a
piece of paper blew upon the damp surface, on which, after carefully
removing it, Maso found his design was impressed; others state that
it was through the servant's laying a damp cloth upon it, that
the principle of printing from an incised plate was suggested.
At any rate, Finiguerra took the hint, it is said, and made an
impression on paper, rolling it, as one would do with an etching
or engraving.

In the Silver Chamber in the Pitti Palace is a Pax, by Mantegna,
made in the same way as that by Finiguerra, and bearing comparison
with it. The engraving is most delicate, and it is difficult
to imagine a better specimen of the art. The Madonna and Child,
seated in an arbour, occupy the centre of the composition, which
is framed with jewelled bands, the frame being divided into sixteen
compartments, in each of which is seen a tiny and exquisite picture.
The work on the arbour of roses in which the Virgin sits is of
remarkable quality, as well as the small birds and animals
introduced into the composition. In the background, St. Christopher
is seen crossing the river with the Christ Child on his back, while
in the water a fish and a swan are visible.

In Valencia in Spain may be seen a chalice which has been supposed
to be the very cup in which Our Saviour in