Francia began life as a goldsmith, too, and was never in after life
ashamed of his profession, for he often signed his works Francesco
Francia Aurifex. Francia was a very skilful workman in niello,
and in enamels. In fact, to quote the enthusiastic Vasari, "he
executed everything that is most beautiful, and which can be performed
in that art more perfectly than any other master had ever done."
Baccio Baldini, also, was a goldsmith, although a greater portion
of his ability was turned in the direction of engraving. His pupil
Maso Finniguerra, who turned also to engraving, began his career
as a goldsmith.

The great silver altar in the Baptistery in Florence occupied nearly
all the goldsmiths in that city. In 1330 the father of the Orcagnas,
Cione, died; he had worked for some years before that on the altar.
In 1366 the altar was destroyed, but the parts in bas-relief by
Cione were retained and incorporated into the new work, which was
finished in 1478. Ghiberti, Orcagna, Verocchio, and Pollajuolo,
all executed various details of this magnificent monument.

Goldsmiths did not quite change their standing and characteristics
until late in the sixteenth century. About that time it may be said
that the last goldsmith of the old school was Claude Ballin, while
the first jeweller, in the modern acceptation of the word, was Pierre
de Montarsy.

Silver has always been selected for the better household utensils,
not only on account of its beauty, but also because of its ductility,
which is desirable in making larger vessels; its value, too, is
less than that of gold, so that articles which would be quite out