falls vacant to our Benvenuto, for I do not want my kingdom to
be deprived of his like."

Benvenuto describes the process of making filigree work, the principle
of which is, fine wire coiled flat so as to form designs with an
interesting and varied surface. Filigree is quite common still, and
any one who has walked down the steep street of the Goldsmiths in
Genoa is familiar with most of its modern forms. Cellini says: "Though
many have practised the art without making drawings first, because the
material in which they worked was so easily handled and so pliable,
yet those who made their drawings first did the best work. Now give
ear to the way the art is pursued." He then directs that the craftsman
shall have ready three sizes of wire, and some little gold granules,
which are made by cutting the short lengths of wire, and then subjecting
them to fervent heat until they become as little round beads. He
then explains how the artificer must twist and mould the delicate
wires, and tastily apply the little granules, so as to make a graceful
design, usually of some floriate form. When the wire flowers and
leaves were formed satisfactorily, a wash of gum tragacanth should
be applied, to hold them in place until the final soldering. The
solder was in powdered form, and it was to be dusted on "just as
much as may suffice,... and not more,"... this amount of solder
could only be determined by the experience of the artist. Then came
the firing of the finished work in the little furnace; Benvenuto is
here quite at a loss how to explain himself: "Too much heat would
move the wires you have woven out of place," he says, "really it is
quite impossible to tell it properly in writing; I could explain it
all right by word of mouth, or better still, show you how it is
done,--still, come along,--we'll try to go on as we started!"