[272] La pratica.
CHAPTER V. HOW TO CARVE STATUES OR INTAGLIOS, OR OTHER WORKS, SUCH AS DIVERS BEASTS, IN MARBLE OR OTHER STONES.
There are many kinds of white marble, & since those of Greece are the most desired, [273] and the loveliest, let us consider them first. And well may I speak, for I spent some twenty years in the wondrous city of Rome, and while there, though I gave my attention to the craft of the goldsmith, I always had a desire to do some great works in marble; & I worked along of some of the first sculptors that lived in those days; and among them that I knew best was our great Michaelangelo Buonaroti, the Florentine, the man that wrought better in marble than any other ever known. Of the reason of this I shall duly speak to you in its place.
Let us tell, then, in the same way as we did before in other matters, of the qualities of marbles. I have seen five or more different sorts of marble. The first of these has a very coarse grain,[274] and in the grain appear certain bright points running close along side of each other. This marble is the most difficult of all to work, because it is the hardest; it is particularly difficult to fashion the more delicate forms in it without the chisel damaging or cracking them; if you do manage, though after much effort, to bring them off in this stone, they look lovely. I have found that the grain gradually softens through the five different sorts above-mentioned, & the softest of all I have found verging in colour to a delicate flesh tint rather than a white. This sort is the most cohesive, the most beautiful and the tenderest marble in the world to work in.
FOOTNOTES:
[273] Piu orientali.
[274] Grana grossissima.
The Crucifix in the Escurial