my labour. While we were exchanging these words, an old man happened to
come up, called Maestro Antonio, of San Marino. He was the chief among
the Roman goldsmiths, and had been Firenzuola's master. Hearing what I
had to say, which I took good care that he should understand, he
immediately espoused my cause, and bade Firenzuola pay me. The dispute
waxed warm, because Firenzuola was an admirable swordsman, far better
than he was a goldsmith. Yet reason made itself heard; and I backed my
cause with the same spirit, till I got myself paid. In course of time
Firenzuola and I became friends, and at his request I stood godfather to
one of his children.

Note 1. Cellini's use of the word 'arte' for the 'art' or 'trade' of
goldsmiths corresponds to "the art" as used by English writers early in
this century. See Haydon's Autobiography, 'passim.'

Note 2. The Italian is 'sobbillato,' which might be also translated
'inveigled' or 'instigated.' But Varchi, the contemporary of Cellini,
gives this verb the force of using pressure and boring on until somebody
is driven to do something.

XV

I WENT on working with Pagolo Arsago, and earned a good deal of money,
the greater part of which I always sent to my good father. At the end of
two years, upon my father's entreaty, I returned to Florence, and put
myself once more under Francesco Salimbene, with whom I earned a great
deal, and took continual pains to improve in my art. I renewed my
intimacy with Francesco di Filippo; and though I was too much given to
pleasure, owing to that accursed music, I never neglected to devote some
hours of the day or night to study. At that time I fashioned a silver