[10]. In chapter VI of the ‘Introduction’ to Architecture, postea, p. 93, Vasari writes of the ‘casa di Messer Egidio et Fabio Sasso’ as being ‘in Parione.’ See Note at the end of the ‘Introduction’ to Architecture on ‘The Sassi, della Valle, and other Collections of Antiques of the early part of the sixteenth century,’ postea, p. 102 f.
[11]. This is the ‘Apollo’ at Naples, No. 6281. See Note as above.
[12]. See Note above mentioned.
[13]. Now lost.
[14]. Now in the Boboli Gardens at Florence. See Note on the Sassi, etc., Collections.
[15]. See Note on ‘The Revival of Sculpture in Porphyry,’ postea, p. 110 f.
[16]. Reciprocating saws of the kind Vasari mentions, mostly of soft steel or iron, and also circular saws, are in use at the present day, the abrasives being emery, or a new material called ‘carborundum.’ This consists in minute crystals of intense hardness gained by fusing by an electric current a mixture of clay and similar substances. See The Times, Engineering Supplement, Oct. 31, 1906.
[17]. It needs hardly to be said that the ancients had no ‘secrets’ such as Vasari hints at. Mr W. Brindley believes that the antique methods of quarrying and working hard stones were ‘precisely the same as our own were until a few years ago,’ that is to say that the blocks were detached from the quarry and split with metal wedges, dressed roughly to shape with large and small picks, and ‘rubbed down with flat stone rubbers and sand, then polished with bronze or copper rubbers with emery powder’ (Transactions, R.I.B.A., 1888, p. 25). At a very early date in Egyptian history, even before the dynastic period, the hardest stones (not excepting porphyry) were successfully manipulated, and vases and bowls of these materials cut with exquisite precision. Professor Flinders Petrie found evidence that at the epoch of the great pyramids tubular drills and bronze saws set with gem-stones (corundum) were employed by the Egyptians in hollowing basalt sarcophagi and cutting the harder stones (The Pyramids and Temples of Ghizeh, London, 1883, p. 173 f.). There is however no evidence of the use of these advanced appliances by the Greeks or Romans. It must not be forgotten that even before the age of metals the neolithic artificers of western Europe could not only cut and bore, but also ornament with patterns, stone hammer-heads of the most intractable materials, with the aid only of pieces of wood twirled or rubbed on the place and plentifully fed with sand and water. The stone axe- and hammer-heads so common in pre-historic collections were bored with tubular drills, made probably from reeds, which cut out a solid core. Such cores can still be seen in partly-pierced hammer-heads in the Museum at Stockholm, and elsewhere.
[18]. Fig. 1 shows the inscription of which Vasari writes and the situation of it on the riser of the step is seen on Plate II. The porphyry slab is 3 ft. 5 in. long and 5½ in. high. The tongues at the ends are in separate pieces. The letters, nineteen not eighteen in number, are close upon 2 in. in height and are cleanly cut with V-shaped incisions. The illustration shows the form of the letters which Vasari justly praises. The name ‘Oricellario’ or -us was derived by the distinguished Florentine family that bore it from the plant Oricello, orchil, which was employed for making a beautiful purple dye, from the importation of which from the Levant the family gained wealth and importance. The shortened popular form of the name ‘Rucellai’ is that by which the family is familiarly known. Giovanni Rucellai gave a commission to Alberti to complete the façade of S. Maria Novella, which was carried out by 1470. The Bernardo Rucellai of the inscription, the son of Giovanni, was known as a historian, and owned the gardens where the Platonic Academy had at one time its place of meeting. Fineschi, in his Forestiero Istruito in S. Maria Novella, Firenze, 1790, says that Bernardo desired to be buried in front of the church and had the inscription cut for sepulchral purposes. The existence of sepulchral ‘avelli’ of distinguished Florentine families at the front of the church makes this seem likely, and in this case the lettering would be after Alberti’s time, though as Fineschi believes, the earliest existing work of the kind in hard stone at Florence. See Rev. J. Wood Brown, S. Maria Novella, Edinburgh, 1902, p. 114.
[19]. After the fashion of an ordinary carpenter’s ‘brace.’