Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/493

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In our theory of painting we said but little of copperplate engraving, seeing that it was then sufficient for our purpose to show the method of engraving on silver with the burin, which is a square instrument of iron, cut diagonally, and with sharp points; we will, therefore, take the occasion of this life to say what may seem needful to the better understanding of the subject.

The commencement of the practice of copper-plate engraving was made by Maso di Finiguerra, about the year of our salvation 1460. Of every work which this artist engraved on silver preparatory to its completion in Niello, betook the impression in clay, then poured dissolved sulphur over it, whereby the impression was repeated, and appeared blackened with smoke, displaying in oil the subject which appeared on the plate of silver. He then did the same on damped paper, and with the same colour, going over the whole very gently with a round roller, the result being that these pictures not only appear as if printed, but have the effect of those designed with the pen.

Maso di Finiguerra was followed by the Florentine goldsmith, Baccio Baldini, who had no great power of design,