The treatises of Benvenuto Cellini on goldsmithing and sculpture

by Benvenuto Cellini

FOOTNOTES:

[283] Soppannata.

[284] Proffilo.

[285] Virtù. See also Brinckmans rendering: ‘Als grösserer Liebhaber der schönen Künste.’

[286] Claude d’Annebault, Marechal de France.

[287] The Perseus and the Medusa.

THE GLOSSARY HERE FOLLOWING DOES NOT PROFESS IN ANY SENSE TO BE COMPLETE, NOR ARE THE WORDS IN IT TO BE REGARDED AS BEARING ONLY THE SIGNIFICATION GIVEN IN EACH CASE: THE ATTEMPT, HOWEVER, IS TO RENDER CELLINI’S MEANING IN THE TREATISES AND AUTOBIOGRAPHY, AS I HAVE UNDERSTOOD IT.

A GLOSSARY OF ITALIAN TECHNICAL TERMS FOR THE USE OF STUDENTS.

The references, where given, are to the paging respectively of the Trattati (Tra.) and the Vita (V.); the former to the Italian of Milanesi, 1857 edition, the latter to Symonds’ Translation, 1893 edition. Where I have adopted Symonds’ definition of a word I have acknowledged it with an (S.).

ABBASSARE: to bring or hammer down, as of relief work in metal. Tra. 143.

ACCETTARE: to accept or take; of the accepting of metal from the gesso or clay mould. In Tra. 164, Cellini describes how the metal accepts better when the clay is fatty from decomposition.

ACCONCIARE: to set. Tra. 40. See also [SERRARE], [LEGARE].

ACQUA: the water of a diamond. Tra. 60, 65.

ACQUA DA PARTIRE: see [PARTIRE].

ACQUA DI DRAGANTE: see [DRAGANTE].

ACQUA FORTE: aquafortis in its various uses. See Tra. 31, 149, 155.

ACQUAIO: a pipe for carrying off water. Tra. 173. See CANNONETTO.

ACQUA MARINA: the aquamarine. Tra. 39.

ACQUA MORTA: urine. V. 282.

ACQUERECCIA: a large metal ewer for holding water. Tra. 130.

AFFARE: to make, to tell well, to give a good effect, as of a well-set stone. Tra. 41.

AFFATICARSI: to wear; of the wear and tear of the dies in stamping. Tra. 123. More generally, to be affected by. Tra. 186.

AFFINARE: to fine, of gold. Tra. 156.

AFFUMARE: to besmoke, as with a candle or lamp flame. Tra. 102, 103. For substantive Cellini uses spolverezzo.

AGGHIADARE: to curdle, to stiffen; of metal when it does not fuse. Tra. 192.

ALIETTA: a wing or bracket of iron to strengthen the frame that holds the dies for stamping. Tra. 122.

ALITARE: to blow or kindle with the bellows. Tra. 124.

ALLACCIARE: to fasten. Tra. 80.

ALLUME DI ROCCA: rock alum. Tra. 155. Probably sulphate of alumina from alum shale.

ALZARE: to stand or be bossed up. Tra. 95.

AMATISTA: amethyst. Tra. 39.

AMATITA NERA: a hæmatite stone. Tra. 49.

AMATITA ROSSA: see [MATITA].

ANCUDINE, ANCUDINETTA, ANCUDINUZZA: an anvil, or more usually a stake head for hammer work.

ANELLO: a ring; anello del granchio. A metal ring of lead or copper, now worn in Italy under the name anello di salute (S.).

ANIMA: the core or inner block of a cire perdue casting. Tra. 165. V. 1.

APPICCATO: standing or picked out; of a figure from its field. Tra. 78.

APPOMICIATO: treated with pumice, as of metal work for the final cleaning. Tra. 145.

APRIRE: a term employed in enamelling to express the effect of a firing upon red enamel, when the same turns to a yellow scarce distinguishable from gold. Tra. 35.

ARCHIMISTA: an alchemist.

ARCHIPENZOLO: a geometrical plane. Tra. 205.

ARENA DI TUFO: a tufa earth. Tra. 102.

ARGANO: a windlass. Tra. 173. V. 420.

ARGENTO VIVO: mercury. Tra. 147.

ARMADURA: a framework, such as would admit of the model of a large statue being built upon it. Tra. 206.

ARRENARE: to treat with sand or sand-paper. Tra. 76.

ARRUOTARE: to polish or burnish, as of dies upon a smooth stone. Tra. 111.

ARTIGLIERIE (MAESTRO DI): ordnance founders. Tra. 163.

ASSOTIGLIARE: to softly polish over, as of enamel with sandstone. Tra. 35. See [FRASINELLA].

ASTA: the hasp or handle of a chisel. Tra. 198.

AVVIVATOIO, also ISVIVATOIO: a metal rod with a wooden handle used for polishing rings, and applying mercury gilding. Tra. 149. V. 252.

BACINELLA: a mortar. Tra. 30.

BAGNO (CONDOTTO IN): a bath, i.e., of bronze brought to the liquid state. Tra. 178.

BALASCIA, BALASCIO: the balas ruby. Tra. 38, 50.

BARILA: a measure of about 40 litres; 20 Florentine wine flasks. Tra. 119.

BATTILORO: a gold beater. Tra. 125.

BAVA, BAVETTA, BAVUCCIA: roughness; the rough edges of a casting. Tra. 120, 129, 174.

BERILLO: the beryl. Tra. 63.

BIACCA: white lead. Tra. 116.

BIANCHIMENTO: blanching solution. BIANCHIRE, to use this solution, or more generally to clean or whiten silver. Tra. 48, 146, 149. See also [GROMMATA].

BIETTA: a wedge of iron, such as is used for fastening the dies into the frame for minting. Tra. 122. Or of wood for tightening up a plaster mould. Tra. 167.

BOCCA: a mouth; the lip of a jug; the channel in which to pour the metal in a casting, &c. BOCCA PRINCIPALE, the main entrance. BOCCA DELLA SPINA, the mouth of the plug, from which the molten metal flows into the mould. BOCCA DEL MARTELLO, the thick end of a hammer. Tra. 131.

BOCCIA: a retort; an alembic. Tra. 156.

BOCETTA: a flask or bottle. Tra. 15.

BOLO ARMENIO (TERRA DI): bole of Armenia, a red earth used for gilding grounds, &c. Tra. 111.

BOLSO: blunted. Tra. 131.

BORDELLERIE: lumber (S.). V. 39. Large, clumsy rubbish.

BORRACE: borax. Tra. 17.

BORRACIERE: a borax crucible or pan. Tra. 20, 73.

BOTTONE: a button or clasp, or more specially a morse. Tra. 49, 80, 89.

BOZZA: a sketch. Tra. 197.

BRACCIAIUOLA: a pit beneath the grating to receive the ashes from the furnace. V. 423; Tra. 191.

BRACCIO: a cubit, i.e., about 48 inches.

BREVE: a trinket in the nature of a locket. Tra. 20.

BRUNIRE: to burnish; the process of burnishing as in niello. Tra. 18, 153. BRUNITOIO, a burnisher, usually of tempered steel. Tra. 18.

BULINO: a graver. Tra. 13.

CACCIANFUORI: snarling irons, a species of small stakes for repoussé work. Tra. 96, 134.

CALCIDONIO: chalcedony. Tra. 67.

CALDANUZZO: a pan or brazier. Tra. 58.

CALDARE: a large vessel used for the blanching solution. Tra. 58.

CALDERONE: a cauldron. Tra. 16, 150.

CALDO: a cooling, e.g., dare un caldo. Tra. 124; as of enamel work from the furnace.

CAMICIA: the coat or vest of wax drawn over the baked clay mould in a cire perdue casting; or the mould generally. Tra. 162.

CAMOSCIARE: a method employed in embossing metal by working over the backgrounds with a broken steel tool; what we should call ‘matting’ or ‘frosting.’ Tra. 92.

CAMPO: the field or background of a piece of work. Tra. 76, 91.

CANALE: the channel through which the metal flows in a casting. Tra. 175. Also, in other uses, an ingot mould. Tra. 48, 175.

CANAPO: rope. Tra. 173; V. 420.

CANNELLA, CANNELLO: Tra. 170. See [CANALE].

CANNONE, CANNONETTO: tubes or pipes of metal or earthenware. Tra. 173, 174.

CAPPA DI FRATI: a grey colour of that name. Tra. 33.

CARATO: a carat; 3·17 grains troy. Tra. 47.

CARBONCULO: a carbuncle. Tra. 38.

CARBONE (MISURADI): troy weight. V. 205.

CARICARE: to fill in, or cover up; as of enamel in its cloisons, or gold on metal; also more generally, to load or weight. Tra. 25, 173.

CARTONE: cartoon. V. xlix.

CASTAGNUOLO: chestnut wood.

CASTONE: the bezel; or more generally, setting of a stone. Tra. 40.

CATINELLETTA: a little vessel. Tra. 136.

CATINOTTO: an earthen pot. Tra. 125.

CAVO: a mould.

CENERATA: a brew of charcoal, usually from oak, in boiling water, for cleaning niello work, &c. Tra. 16.

CEPPO: an anvil stock. Tra. 134. Also of a wooden block for striking coins on. Tra. 119.

CERVONA: see [COLLA] CERVONA.

CESELLO, CESELLINO, CESELLETTO: a punch. CESELLARE: to work with the punch. Passim.

CHERMISI: Kermes. Tra. 42.

CHIAVAQUORE: a trinket in the shape of a key; a hearts key. V. 27.

CHIOCCIOLA, CHIOCCIOLETTA: the female of the screw; or more generally, a spiral; also a snail or scroll in design. Tra. 92, 122, 132.

CIAPPOLA, CIAPPOLETA, CIAPPOLINA : a chisel; sometimes a sculper. Tra. 93. See [GRAFFIARE].

CIBORIO: pyx; a vessel for holding the Eucharist. V. 132.

CIMATURA: cloth shavings or frayings.

CIMENTO: cement; of the royal cement, the recipe for the making of which is described. Tra. 156.

CIOTOLINA: a beaker. Tra. 17, 21.

CITRINI, CITRINO: citron quartz. Tra. 65.

COGLIONERIE: gewgaws, shoddy trifles. V. 39.

COLLA: a gum or glue as of pear or quince seeds. Tra. 37. COLLA CERVONA: a glue made of stag’s horn. Tra. 154. COLLA DI PESCE: fish glue.

COLMETTA: bent or curved, of the sheet of gold to be hammered over bronze in the method of Caradosso. Tra. 72.

COMPARTIMENTO: a cloison in enamel; or a division in filigree. Tra. 24.

CONCIARE: to cut or polish stones. Tra. 51. CONCIATORE: a stone cutter. Tra. 66.

CONFICCARE: to clamp. Tra. 128.

CONGEGNARE: to nail. Tra. 128.

CONII: the dies for minting. V. 114. CONIARE: the process of striking with them. Tra. 120.

CONO: an iron wedge used in the frame for minting. Tra. 120.

COPERCHIO: the cap of a furnace. Tra. 181; V. 424.

COPERTO: suffused, clouded; used of the colour of stones. Tra. 38.

COREGGE: straps. V. 172.

COREGGIUOLO, CORREGGIOLETTO: a crucible. Tra. 15, 29, 126.

CORNA, CORNETTO: a horn, e.g., of a caccianfuori stake. Tra. 134.

CORNIOLO: cornel wood from which punches for delicate metal work were made. Tra. 72.

CORNIUOLO: the carnelian. Tra. 67.

CORRERE: to fuse or run, of enamels in the furnace. Tra. 35.

COSTA DI COLTELLO: a knife’s back, a term of measurement, where we should use a gauge, e.g., Birmingham gauge.

CUCCUMA: turmeric root. Tra. 150.

DIGUAZZARE: to stir. Tra. 150.

DITO: a finger, used as a standard of measurement.

DOMMASCO: damask. Tra. 28.

DOPPIA, DOPPIO: a stone artificially pieced together of several pieces. Tra. 45.

DRAGANTE: gum tragacanth. Tra. 21.

FACETTE (A): facetted (a facette as distinct from a punta and in tavola in the cutting of the diamond). V. 393; Tra. 49.

FALSATORE: a cheat; a dealer in false stones; a coiner. Tra. 44, 113.

FATTORETTO, FATTORINO: a shop assistant. Tra. 137, 68.

FEMMINA: the female screw. Tra. 122. See also [VITE FEMMINA].

FERETTO DI SPAGNA: calcined sulphate of iron (French, ferret). Tra. 152.

FERRAMENTI: tools and appliances generally. Tra. 46.

FERRI, FERRETTI, FERRUZZI, FERROLINI: iron or steel tools used for various processes, e.g., as applied to dies for minting.

FIASCO: a flask holding more than a quart. V. 187.

FIBBIA: a buckle, brooch, or pin. Tra. 9.

FILETTI: the sharp lines that divide one facet from another. V. 394.

FILO: filigree.

FILO TIRATO: metal wire or thread. Tra. 25.

FOGLIA: foil; usually of thin hammered metal for setting beneath stones, or covering gesso models to prevent the suction of the cast. Tra. 47.

FOGLIAME, FOGLIAMETTO: foliage; spray work. Tra. 19, 24, 79.

FONDERE: to cast. FONDERE NEL MORTAIO: a special method of casting described. Tra. 125.

FORBICE (UN PAIO DI), FORBICINE: a pair of forceps or pliers. Tra. 147.

FORMA: the mould, e.g., for casting metal in. V. 1.

FORMARE: to model or mould.

FORNACE, FORNACETTA: the furnace.

FORNELLO, FORNELLETTO: a stove.

FORNIMENTO DA CAVALLI: the metal trappings of horses. Tra. 120. DI SPADA: the inlay or damascening on swords. Tra. 155.

FRASCONCINO: a birch rod or bundle of twigs. Tra. 150.

FRASINELLA: a fine grained sandstone used for whetting the more delicate sorts of steel instruments and enamels; equivalent to hone rather than to whetstone. Tra. 36.

FREGIO: a border or framework. Tra. 92.

FUMMICARE: to steam. Tra. 151.

FUSCELLETTO, FUSCELLINO: a small twig, or tool of wood for working wax. Tra. 73, 116.

FUSCELLO: flour dust, described by Cellini as gathered on the walls and cornices of mills, and used as a paste for gilding. Tra. 154. See also, in another sense, [FUSCELLETTO].

GALANTERIE: little devices or conceits of design. Tra. 135.

GALLETTA: a strip, or shaping of wire, e.g., in filigree work. Tra. 21.

GAMBA, GAMBETTO: a claw in the setting of a stone. Tra. 53. A small clamp or attachment. Tra. 79.

GANGHERO: a hinge. Tra. 91. V. 41.

GATTA: see [OCCHIO DI GATTA].

GESSO: plaster of Paris, or one or other of the various compositions made from it with resin, beeswax, &c. Cellini has GESSO VOLTERRANO: gesso of Volterra. Tra. 100. GESSO COTTO: Tra. 100. GESSO IN PANE: gesso in the cake. Tra. 154. GESSO DI TRIPOLO: see [TRIPOLO].

GETTO (ARTE DEL): the art of bronze casting. Tra. 7.

GIRARE: to reverberate; of the flame in the furnace. Tra. 189. Also, V. tr. to handle, as of the graver, GIRARE IL BULINO. Tra. 13.

GIRASOLE: the girasol opal. Tra. 43.

GITTARE: to cast (of metal). Tra. 48, 76. Also in another sense, to lean or verge towards, e.g., of the colour of marble. Tra. 195.

GIULIO: a Tuscan coin of 56 Italian centimes or 8 Tuscan crazie, which in Florence was also called barille or gabellotto, because the sum had to be paid as duty on a barrel of wine. (S.).

GOCCIOLA, GOCCIOLINA: a drop, as of the water distilled from pear or quince seed, used for enamelling. Tra. 36.

GOLA: the neck, e.g., of a vase. Tra. 133.

GOMMA, used alternately with GROMMA & GROMMATA: Any solution for the blanching or cleaning of metal. More strictly, the incrustation in wine casks, tanks, & water pipes. Gomma or gromma di botte is the tartar of wine casks used for the cleaning of metals and gilding silver; tartrate of potash. Tra. 48, 106.

GONFIARE: to boss or belly out. Tra. 79, 82.

GORBIA: a ferule or throttle of iron. Tra. 191. Also generally, a pointed tool for working soft stone. Tra. 200.

GRAFFIARE: in the sense used by Cellini, Tra. 128, to hatch or to grave upon the metal by means of a well sharpened ciappola, a cutting instrument, different from the bulino & the cesello, used especially for hatching. From graffiare, used in this sense comes the better known word graffito.

GRANAGLIA: grains, or granulated metal for filigree. Tra. 20.

GRANATO: the garnet. Tra. 39.

GRANIRE: a method employed in embossing metal for working over the backgrounds with a sharp-pointed steel tool. Tra. 92.

GRANITURA: beading, e.g., around a coin. Tra. 112, 114.

GRATICOLA, GRATICOLETTA, GRATICOLINA: a grating, a grill. Tra. 126, 190.

GRATITUDINE: the gratefulness, charm, or delicacy of a stone. Tra. 38.

GRATTAPUGIA: a scratch-brush. GRATTAPUGIARE: to clean or polish with the scratch-brush. Tra. 148.

GREMBUILO: an apron. V. (l.).

GRISOLITA: the chrysolite. Tra. 39.

GRISOPAZIO: the chrysoprase. Tra. 39.

GROSSERIA: metal work of the larger sort, as opposed to minuteria. Our term, hammered hollow ware, would partly express it. It mainly included the beating of large vessels into shapes, but it did not exclude the processes of casting.

IACINTO: the jacynth. Tra. 39.

IMBRACCIATOIE: special tongs for holding earthenware crucibles. Tra. 124, 137.

INCARNATO: flesh-tinted, as of stones or enamels. Tra. 33, 195.

INDACO: indigo. Tra. 60.

INDOLCIRE: to soften, as of the tempering of steel. Tra. 112, 117.

INFRANGERE: to beat or dent in as opposed to cutting out or removing the surface of metal. Tra. 75.

INTACCARE: to notch, to cut a tally, intaccatura, in metal. INTACCATO: notched. Tra. 142.

INTAGLIO, INTAGLIARE: cutting in intaglio; more generally, carving. INTAGLIATORE: a carver.

INTERSEGARE: to cross or plait, of wire. Tra. 138.

INTRONARE: to crack or spring, of stone beneath the chisel. Tra. 199.

ISPIANARE: to plane or pare the metal plate. Tra. 117. See [RASOIO].

ISVIVATOIO: see [AVVIVATOIO].

LAGRIME DI MASTICO: tears of mastic, used in stone-setting. Tra. 59.

LAMA: a band, as of hoop iron. Tra. 125.

LAMINE: plates of metal. Tra. 141.

LAMPEGGIARE: to flash, glow, or blaze, as of a red stone. Tra. 74.

LASAGNA: the coating of wax, clay, or paste, applied to the mould of a casting. Tra. 137, 168, 170.

LEGA, LEGHA: alloy; also generally, for the metal of a setting, and so of a setting itself. Tra. 144. V. 424. LEGARE: to set. Tra. 8, 37, 41.

LEGATURA: setting. Tra. 43.

LEGNETTE, LEGNUZZI: faggots; small logs or pieces of wood for burning. Tra. 17, 22.

LEVARE: to remove or cut away, as of metal background to be removed with the chisel. Tra. 75.

LIMA: a file, of which Cellini describes several sorts, e.g., LIMA A COLTELLA, LIMA MEZZA TONDA, LIMA RASPA. Tra. 198. LIMARE: to file. Tra. 20.

LIMATURA: filings, as of the solder, limatura di saldatura, sprinkled over the filigree. Tra. 21.

LIMUZZA: Tra. 92. See [LIMA].

LINGUA DI VACCA: a cows’ tongue stake head. Tra. 132.

LISTRE DI FERRO: bands of iron, as of the bands used for holding together the moulds in bronze casting. Tra. 183.

LOPPA: dregs, lees, scum, as of the glass scum, loppa di vetro, in the metal vent of the crucible described. Tra. 198.

LORDO: greasy, as of the surface of metal in the working. Tra. 28.

LORDURA: literally lordura di untume, fatty substance, removable with aquafortis. Tra. 31.

LOTO: a paste or composition, as of ashes. Tra. 126. Also a luting, as of the closing of the joints in an alembic. Tra. 156.

LUSTRO: the shine or glimmer on the metal left by the use of the punches, &c. Tra. 28, 195.

MACINARE: to pound. Tra. 104, 148.

MADRE: the matrices of the dies; the mother punches. Tra. 118.

MAGLIA, MAGLIETTA: an eye or socket of iron fitted into the plaster mould of a casting. Tra. 167, 168.

MAGRO: coarse and thin; used of clay as distinguished from the rich and fatty quality. Tra. 163.

MANDORLA, MANDORLETTA: literally, an almond shape; used of jewellery thus shaped, & of the shapes of Cardinals’ seals. Tra. 20, 99.

MANDRIANO: an iron crook; a pole fitted at the end with a curved iron. Tra. 176, 181; V. 421.

MANICA: a funnel shaped furnace (S.). V. li.

MANICO: a handle. Tra. 107, 137.

MANIGLIA: a bracelet. Tra. 37.

MANTACO, MANTACETTO, MANTACUZZO, MANTICHE, MANTICO, MANTICETTO: a pair of bellows. Tra. 15, 17, 34, 74, 124. MANTACETTO A MANO: the hand-bellows. Tra. 144.

MARTELLO, MARTELLETTO, MARTELLINO: a hammer, whether of wood or iron. Tra. 32, 78. MARTELLO A DUE MANI: a large hammer wielded with both hands, commonly called mazzetta. Tra. 121.

MASCHERA, MASCHERETTA: a mask, a favourite form in Renaissance design. Tra. 137.

MASELLI (DI RAME): sizes of copper. V. 420.

MASTICO: the varnish resin, commonly called gum mastic. Tra. 57. See also [LAGRIME].

MASTIO: the male screw; as in the process of striking coins with the screw. Tra. 122.

MATASSINA: a skein. Tra. 42.

MATITA ROSSA: red chalk; red hæmatite (Dict., Baretti); perhaps, jewellers’ rouge. Tra. 150, 152.

MATTONE, MATTONCELLI: tiles; baked bricks.

MATURO: ripe, mature, of the colour of the ruby. Tra. 38.

MAZZAPICCHIARE: to ram. Tra. 174.

MAZZAPICCHIO: a rammer; a wooden instrument three cubits long and widening to the bottom to a quarter of a cubit, used for tightening in the soil into the pit that contains the mould. Tra. 174.

MAZZETTA: see [MARTELLO].

MAZZUOLO: a mallet. Tra. 199.

MESTOLETTA: a spoon or ladle. Tra. 138.

MEZZANA: a flooring brick or tile. Tra. 175.

MEZZO TONDO: a half relief.

MIDOLLO: pith. MIDOLLO DI CORNA: pith of cornel wood. Tra. 103.

MIGLIACCIO: a curdling of the metal. V. 423; Tra. 179.

MINUTERIA: small metal ware, as distinguished from grosseria.

MISURA DI CARBONE: troy weight. V. 205.

MODELLO, MODELLINO, MODELLETTO: a model.

MOLLA, MOLETTE: a pair of tongs or pliers. Tra. 21, 125.

MORDERE: to bite, cut, or wear away, as of the cutting of the diamond by the diamond. Tra. 52.

MORTAIO: a mortar. Tra. 125.

NASTRETTO, NASTRETTINO: a streak or strip. Tra. 97, 25.

NIELLARE: to work in niello, of which the various processes are described in Tra., Ch. I.

NOCCIOLO: the ‘kernel,’ or the framework of clay or iron that fits into a casting, and tallies in its various parts with the lasagna or coating of the mould. Tra. 173, 183.

NOTTOLINO: any little knot or tie of metal in jewellery. Tra. 94.

OCCHIO DI GATTA: the cats’ eye stone. Tra. 43.

OLIO DI GRANA: linseed oil. Tra. 58. OLIO DI MANDORLE: almond oil. Tra. 59. OLIO D’OLIVA: olive oil. Tra. 59.

ORIVUOLO: a clock. Tra. 11.

ORLO: a ridge or mound of wax, e.g., round the copper etching plate. Tra. 155.

ORO MATTO: dull gilding. Tra. 210.

OSSATURA: the framework or sketch upon which the various portions of a colossus are pieced. Tra. 209.

OTTAVO: a species of silver solder formed of one-eighth part of an ounce of copper to one ounce of silver. Tra. 143.

OTTONAIO: a brass caster. Tra. 120.

OVATO: an octagonal or eight-sided figure or arrangement. Tra. 97.

OVOLATORO: a metal founder. V. 121. OVOLATORE DI ZECCA: metal founders of the mint (S.).

PADIGLIONI: the pavilion or back facets of a stone. Italian stone-cutters distinguish in a stone the following parts: il bordo, la tavola, le facette, i padiglioni.

PAGONAZZO: peacock blue. Tra. 38.

PAIUOLO: a pail. Tra. 164.

PALA: a spade; a shovel. Tra. 177.

PALETTA, PALETTINA: a palette or placque, as of iron. Tra. 192.

PALETTIERE: a hand-shaped palette, such as Cellini constructed specially on a leaden stand to hold enamels. Tra. 32, 36.

PALLA, PALLOTTOLA: a ball; a sphere. Tra. 79, 97.

PANE: pig or cake, e.g., of metal. Tra. 73, 181. PANE DELLA VITE: the threads of a screw. Tra. 122.

PANNACCIO LINO: a linen rag. Tra. 16.

PARTIRE (ACQUA DI): the acid into which you put alloys and clippings, filings, &c. PARTIRE: to separate gold from silver, or silver from copper, or gold from gilt copper. Tra. 155, 156. PARTITORE: the man who exercises this craft.

PASTA: a paste; a coating. Tra. 148, 166.

PECE GRECA: powdered resin (white pine) from which the oil has been evaporated over hot water. Tra. 27. See also Hendrie’s ‘Theophilus,’ p. 70.

PELLE: a skin, surface, or coating, e.g., of metal or stone; also of the working of the tools over a surface. Tra. 92, 96, 128, 134, 200.

PENDENTE: a pendent.

PENDIO: a fall, as of the fall in a furnace. Tra. 186.

PENNA: the thin end of a hammer. Tra. 130, 132.

PENNELLO, PENNELLETTO, PENNELLINO: a paint brush of hog’s hair or sable, &c. Tra. 21, 93, 104.

PENTOLINO: a vase or pipkin. Tra. 153.

PERLA, PERLETTE: a pearl.

PESTARE: to pound. Tra. 31. PESTATA: the substance pounded. Tra. 93.

PIANO DEL MARTELLO: see [PENNA].

PIASTRA, PIASTRETTA: a plate; as in PIASTRA DI RAME: a copperplate. Tra. 13.

PICCIUOLETTO: see [GAMBETTO].

PIEGATO: bent, inclined, as of the tool described. Tra. 128.

PIEGHETTA: used by Cellini to describe little raised carved pips or patterns on the metal field with a view to their showing through the translucent enamel to express damask or diaper, &c. Tra. 28.

PIENO: full, rich; of the colour of a stone. Tra. 38.

PIETRA FORTE: a stone used by the Florentine sculptors; of hard substance & tan coloured, & found in small quantities in the neighbourhood of Florence. Tra. 202. PIETRA MORTA: quarry stone; in general, of any rough stone fragment. Tra. 187, 189. More specifically of a soft tan coloured stone found in the vicinity of Florence, and much used because of its durability for all sorts of carving. Tra. 202. PIETRA SERENA: a very soft, blue-grey coloured stone found in large quantities in the neighbourhood of Fiesolé and Settignano, but used mostly for internal work owing to its want of durability. Tra. 201.

PIETRUCCOLA, PETRUCCOLA, PIETRUZZA: a little stone or gem. Tra. 69, 163.

PIGLIARE: to take, generally. PIGLIARE IL CALDO: to take the heat; to grow warm, e.g., of the enamel plate when held to the furnace before its insertion. Tra. 34.

PIGNATTA: any large receptacle. Tra. 136, 155.

PIGNERE: to paint; to streak or paste over as with liquid gesso. Tra. 101, 104.

PILA: the lower of the two dies for minting, fashioned in the form of a small stake or anvil, and described with the whole process. Tra. 111, 113. See also [TORSELLO].

PIOMBO: the bureau for affixing the leaden seals to papal bulls; an ecclesiastical office in Rome sometimes given to laymen (S.). V. 125.

PITTORACCIO: an indifferent painter. Tra. 84.

PIVIALE: a cope. Tra. 49, 80.

POMICE, POMMICE: pumice stone. Tra. 92.

PORFIDO: porphyry. Tra. 30.

PRASMA: the plasma; possibly, the prase. Tra. 39.

PRATICA, PRATICACCIA: the practice or practical skill as distinguished from the theory or scientific study of a craft. Tra. 27, 42. CONTINOVA PRATICA: workshop tradition. PRATICO, PRATICONE: a craftsman, a professional, as opposed to an amateur. Tra. 11.

PRATICONACCIO: a humbug or pretender at a craft; a botcher. Tra. 6.

PROFFESIONE: the practice of an art. Tra. 46. See [PRATICA].

PROFILARE, PROFFILARE: to outline, e.g., as of the outlining with the punches in embossed work. Tra. 133. PROFILO: an outline.

PUGNELLETTO: a pinch; a small quantity. Tra. 168.

PULIRE A MANO: to hand polish; of a method of finishing enamel by scouring it with tripoli. Tra. 35.

PULITEZZA: precision; neatness; cleanness of execution (S.). What in a modern workshop one might call ‘finish,’ in contradistinction, however, to ‘trade finish.’

PUNTA (IN): point cut, as applied to a stone. Tra. 51. V. 393.

PUNTALO: buckles or pins for belts. Tra. 20.

PUNTERUOLO: a pin or skewer. Tra. 38.

PUNZONE, PUNZONCINO, PUNZONETTO: a punch, in various uses.

RADERE: to plane or pare, as of a metal plate. Tra. 48, 128, 129.

RAFREDDO: cooled. Tra. 171.

RAMAIUOLO: a ladle. Tra. 127.

RAMO: a pipe. RAMO DI GITTO: the conduit of a casting. V. li., 418.

RAPPEZZARE: to patch up, to re-piece, as of the holes in the hammered gold coating upon bronze figures. Tra. 83, 199.

RAPPRESO: set or hardened from cooling, e.g., of metal in the furnace. Tra. 179.

RASOIO: a razor, a sharp flat knife. Tra. 128.

RASTIARE: to scrape. Tra. 59. RASTIATOIO: a scraper, or instrument used for assisting the flow of the bronze into the mould. Tra. 177.

RASTRELLO: a special sort of rake constructed to rake over the cinders from the ash-pit in bronze casting. Tra. 191.

RENELLA DI VETRO: glass-paper. Tra. 76.

RIARDERE: to scorch up, to harden from heat. Tra. 59, 124.

RIBOLLIRE: to re-heat, to consume with heat, to burn, as of the wax in the gesso mould, from too rapid heating. Tra. 22, 172.

RICERCARE: to search out, to pick out with the tools; e.g., of the minute workmanship on a highly-wrought piece of repoussé. Tra. 95.

RICESELLARE: see[ CESELLO].

RICORRERE: to run together, as of different solderings in later firing. Tra. 75.

RICUOCERE: to heat, to put to the fire, to anneal. Tra. 25, 142.

RIGAGUOLO: a gully. Tra. 186.

RIGONFIARE: to swell or bubble up. Tra. 151.

RILEVARE: to raise, boss or work up into relief. Tra. 78.

RIMACINARE: to pound or mix together. Tra. 153.

RIMBOTTARE: to refill. Tra. 127.

RIMENARE: to stir. Tra. 153.

RINALZARE: to boss or beat out from within. Tra. 134.

RISCHIARE: to clean. Tra. 154.

RISERRARE: to stop or fill up, as of the bubble holes in niello work. Tra. 18.

RISTIARARE: Tra. 151. See [RISCHIARE].

RITONDARE: to round or body a piece of work, e.g., of Michael Angelo’s method of hewing his figures from the stone direct, without recourse to the clay model. Tra. 199.

RITURARE: Tra. 18. See [RISERRARE].

ROSTA: a fan or blower. Tra. 144.

ROVESCIO: the reverse of a medal.

RUBINO BALASCIA: see[ BALASCIA].

RUOTA: a wheel, as of the steel wheel on which diamonds are cut. Tra. 52.

SACCACCIO: a sack or a piece of sack cloth. Tra. 16.

SALDARE: to solder. Tra. 21, 73, 90. SALDARE A CALORE: a term used by Cellini of the first soldering given to a piece of minuterie work; it should be, says he, termed rather, ‘firing in one piece,’ than soldering. Tra. 73, 74.

SALDATURA: solder. Tra. 75, 143. And of its various consistent alloys in saldatura di lega, di ottavo, di quinto, di terzo. See also [LIMATURA].

SALE ARMONIACO: sal ammoniac. Tra. 73.

SALIERA: a salt cellar.

SALNITRO: saltpetre.

SANGUE DI DRAGO: dragon’s blood. Tra. 44.

SAVORE: an ointment; a paste.

SBIANCATO: bright, clean, as of fresh grains of mastic. Tra. 57.

SBORRACIATO: free from borax, e.g., of filigree work after it has been cooked in the tartar solution. Tra. 22.

SCAGLIA, SCAGLIETTA DEL FERRO: scale of iron. Tra. 114.

SCALDARE: to anneal. Tra. 131, 151.

SCANTONATO: to round or trim off, as of the edges of a metal plate in its first stages to the cup form. Tra. 130.

SCARPELLO, SCARPELLETTO: any chisel or cutting tool, and of its different sorts, e.g., SCARPELLO AUGNATO: the wood-carvers’ chisel, and SCARPELLO A UNA TACCA: a notched chisel. Tra. 21, 199.

SCASSARE: to open; to unpick; as of the setting of a stone. Tra. 43.

SCATOLETTO, SCATOLINA: a little box or casket. Tra. 85.

SCHIACCIATO: see [STIACCIATO].

SCHIUMA: see [STIUMA].

SCHIZZARE: to crack or spring, as of enamel. Tra. 28.

SCIOGLIERE: to take out, as of a stone from the setting. Tra. 43.

SCIORRE: see [SCIOGLIERE].

SCODELLA, SCODELLETTA, SCODELLINO: a pipkin or pot, of glass, earthenware, or metal. SCODELLINO INVETRIATO: a glazed earthenware pipkin.

SCOPETTA: a rod of birch or twigs. Tra. 150.

SCOPRIRE: to uncover, disclose, lay bare. Tra. 198.

SCORRERE: to run, as of enamel in the firing. Tra. 25.

SCORZA: bark, crust. Tra. 196.

SCREPOLATURA: a crevice, crack, fissure. Tra. 188.

SCUFFINA: see [LIMA] RASPA.

SERPENTINO: a serpentine stone. Tra. 30.

SERRARE: to set. Tra. 41. See also [ACCONCIARE], [LEGARE].

SESTA, SESTOLINA: the compasses. Tra. 27, 111. SESTA IMMOBILE: compasses of which the legs were fixed to a definite angle; used (as in marking out medals) for striking a number of equal circles. Tra. 117.

SETOLA, SETOLETTA, SETOLINA: a brush, usually of hog sables. Tra. 16, 74, 94.

SFASCIATA: freed; disconnected from, as of a mould freed from the bricks in which it is baked. Tra. 172, 173.

SFIATATOIO: a vent hole in a cire perdue casting. SFIATARE: the verb form of the same word used of the working of the sfiatatoi. Tra. 137, 170, 173.

SFOGLIETTA, SFOGLIETTINA: a blemish, a roughness; as a rule some surface scaling of the metal. Tra. 129, 133.

SFUMMARE: to steam. Tra. 151.

SILIMATO: see [SOLIMATO].

SMALTO, SMALTARE: enamel; the art of enamelling; to enamel. SMALTO ROGGIO: a particular kind of red enamel described by Cellini. Tra. 36. Also SMALTO ROSSO TRANSPARENTE.

SMERALDO: an emerald. Tra. 40.

SMERIGLIO: the stain or blemish in marble. Tra. 196.

SODO: the base. Tra. 96.

SOFFIARE: to bubble or blow; of metal flowing into a mould for which the vents have been improperly prepared. Tra. 181.

SOFFREGARE: to rub; as of stone against stone in the cutting of the diamond. Tra. 52.

SOLIMATO: corrosive sublimate. Tra. 155.

SOPPANNATO: match-boarded. Tra. 206.

SOTTIGLIEZZA: delicacy; subtle detail in a piece of work. Tra. 164, 166.

SOTTO SQUADRO: undercutting. Tra. 141.

SPADAIO: a sword cutler. Tra. 49.

SPAGHETTO: string. Tra. 171.

SPALLA, SPALLETTA: shoulder, end, roof; as of the ends of the furnace bed, or the ramparts of earth around a wax seal that is to be cast. Tra. 105.

SPANNARE: to spread or paint over. Tra. 150.

SPAZZATURE: sweepings; refuse of old bits of metal in goldsmiths’ work. V. 20.

SPECCHIETTO: the reflector, or piece of square glass set beneath a diamond in the bezel; sometimes in conjunction with the process of tinting. Tra. 65. See also [TINTA].

SPEGNERE: to dip or quench. Tra. 48.

SPIANARE: to smooth, planish, polish; as of enamels with the frasinelle; or a metal plate before commencing work. Tra. 21, 26.

SPICCARE: to pick out or raise, as of a figure from its background. Tra. 78.

SPINA: a plug, as at the outlet hole of a furnace, & thus used for the outlet hole itself. Tra. 172; V. li., 421. See also [BOCCA] DELLA SPINA.

SPINELLA: spinell. Tra. 39.

SPINGERE: see [SPICCARE].

SPOGLIA: the shell or outer mould of a cire perdue casting between which and the core, nócciolo, is the cavity which subsequently receives the bronze. Tra. 173. See also [TONACA].

SPOLVEREZZO, SPOLVERIZZATO: see [AFFUMARE].

SPORTELLI, SPORTELLETTI: the doors of a furnace; the little doors that open into any closed fire place. Tra. 191, 193.

SPRUZZARE: to sprinkle. Tra. 74.

SPUGNUZZE: bubble holes. Tra. 18.

STACCIARE: to sift. STACCIO: a sieve. Tra. 138.

STAFFA: a frame, e.g., the frame for sand casting, or for holding dies for stamping. Tra. 132.

STAGNO: pewter. V. 424; Tra. 176.

STAGNUOLO: tinfoil. Tra. 165. See also [FOGLIA].

STAMPA: a die for minting. V. 114; Tra. 108, 116. STAMPARE: used in several senses, e.g., to cut or engrave into metal generally. Tra. 14. To make medals of coins. Tra. 110, 119. To make an impression as of a seal. Tra. 100.

STECCA: a board. Tra. 27.

STIACCIARE: to stretch or flatten. Tra. 25.

STIACCIATINA: a flat cake. Tra. 103.

STIANTARE: to chip; to split. Tra. 196.

STILETTO: a style, as of the burnished steel style with which Cellini outlined on metal. Tra. 133.

STIUMA: scum, as of the lead in the crucible for niello. Tra. 15.

STOPPA: putty. Tra. 174.

STRACCIO: a rag. Tra. 137, 173.

STRACCO: spent, as of cinders. Tra. 145.

STROFINARE: to scour; to polish; as of the dies on a wooden board with iron scale. Tra. 114.

STUCCO: a composition variously described as of pounded brick, yellow wax. See [PECE GRECA]. Tra. 27, 75. STUCCARE: to paste or cake over with stucco or other earthy substance.

SUBBIA, SUBBIETTA: sculptors’ chisels. Tra. 198.

SUCCHIELLETTO, SUCCHIELLINO: a tool of the nature of a gimlet. Tra. 168, 170.

SUGHERO: cork, as of the cork tipped with iron scale for cleaning out dies. Tra. 114.

TACCA: a notch. Tra. 198.

TAGLIA: a pulley. Tra. 173.

TANAGLIA, TANAGLIETTA: tongs. Tra. 52, 119.

TANE: tan coloured.

TASSELLI: the dies for stamping medals as distinguished from those for stamping coins, which were termed pila and torsello. Tra. 117.

TASSELLINO: a little cup or clip, as of the metal cup in which the diamond is set against the wheel. Tra. 52.

TASSETTO: a stake or stake head. TASSETTINO TONDO: a rounded stake head. Tra. 48, 78.

TAVOLA (IN): table cut, as applied to a stone. V. 393; Tra. 51.

TEMPERARE: to temper steel. Tra. 114, 119.

TESSUTO: a woven fabric; also for the alternate or reticulated arrangements of bricks in furnace construction. Tra. 125.

TINTA: dare la tinta or tingere, a process used in jewellery of blackening the bezel to give value to diamonds. Tra. 37, 52, 60.

TIRARE: Cellini uses this word in several technical senses in relation to metal work, e.g., to lay or prepare a plate or sheet of metal. Tra. 72. To prepare the threads for filigree. Tra. 20. Or more generally, to bring into shape with the hammer. Tra. 129. TIRARE DI MARTELLO: hammer work. Tra. 48, 140. In another sense the word is used as of translating from a small to a large scale. Tra. 203.

TONACA: the tunic or outside mould of a cire perdue casting, between which and the anima, or inner block, the metal ran, displacing the wax. V. 421; Tra. 171. Also generally, of a coat of gesso.

TOPAZIO: a topaz.

TORCERE: to twist or warp. Tra. 168.

TORSELLO: the upper of the two dies for minting. Tra. 111. See [PILA].

TRAFORARE: to fashion the forms or perforations of filigree work. TRAFORO, TRAFORETTO: a filigree scroll or perforation.

TRAPANO: a borer. Tra. 198. TRAPANO A PETTO: described as a larger sort of borer. Tra. 199.

TRARRE DI FUOCO: described by Cellini as being the technical term for completing the process of soldering before the commencement of the cleaning, &c. Tra. 91. TRARRE DI PECE: similarly described as the term for carrying the work of embossing and chasing through to the moment of removing the pitch. Tra. 134, 135.

TREMENTINA: turps.

TRIPOLO: Tripoli clay; a silicious earth consisting of the remains of diatoms. Tra. 103.

TUFO or ARENA DI TUFO: a sand tufa, a volcanic spongey rock like pumice, used for silver casting. Tra. 102.

TURCHINA: a turquoise.

UNTICCI: messy; untidy. Tra. 28.

UNTUME: grease or fat, used in soldering. Tra. 143, 144.

USCITE: the issues for the metal in a casting. V. 417.

VERDEMEZZO: a term signifying not too dry nor yet too moist, probably tacky. Tra. 104.

VERDERAME: verdigris, i.e., acetate of copper. Tra. 73, 93, 94.

VERDOGNOLO: greenish; used in describing the colour of stone. Tra. 200.

VERMIGLIA: the vermeil. Tra. 39.

VERNICE: varnish. VERNICE ORDINARIA: described as the ordinary varnish used for sword hilts. Tra. 155. VERNICIARE: to varnish.

VESCICA: a crack or flaw, e.g., in glass. Tra. 65.

VESTA, VESTIRE: see [TONACA].

VETRIVUOLO, VETRIVUOLO ROMANO: Roman or green vitriol, i.e., sulphate of iron. Tra. 150, 152.

VIRTU: a word used with many and double senses. For its larger uses see Symonds’ ‘Vita,’ passim. In its more technical uses Cellini has virtù for the glory of a ruby. Tra. 42. VIRTU DEL MARTELLO: excellence of hammer work. VIRTU DEI FERRI: general technical ability with punches and chisels.

VITE: a screw. VITE FEMMINA: the female screw as used in minting with the screw process; and termed also FEMMINA & CHIOCCIOLA, which see.

VIVACITA: the flash and brilliancy of a stone. Tra. 66.

VOLTO: turned, bent, e.g., of the form of a semi-ring punch. Tra. 133.

ZAFFIRO: the sapphire. Tra. 40, 66.

ZAFFO DI FERRO: a stopper of iron. Tra. 189.

ZANA: a division or space. Tra. 97.

ZECCA: the mint. Tra. 115.

HERE END THE TREATISES OF BENVENUTO CELLINI ON METAL WORK AND SCULPTURE, MADE INTO ENGLISH FROM THE ITALIAN OF THE MARCIAN CODEX BY C. R. ASHBEE, AND PRINTED BY HIM AT THE GUILD’S PRESS AT ESSEX HOUSE, WITH THE ASSISTANCE OF LAURENCE HODSON WHO SOUGHT TO KEEP LIVING THE TRADITIONS OF GOOD PRINTING REFOUNDED BY WILLIAM MORRIS, THE MASTER CRAFTSMAN, AND LIKEWISE OF T. BINNING & J. TIPPETT, COMPOSITORS, AND S. MOWLEM, PRESSMAN, WHO CAME TO ESSEX HOUSE FROM THE KELMSCOTT PRESS TO THAT END. BEGUN APRIL, 1898; FINISHED OCTOBER, 1898.

Published by Edward Arnold, 37 Bedford
Street, Strand; and of the 600 copies printed,
this copy is No. 431