Of the Chevalier, Leone Aretino, who has done equally well in the same
art, and of the works that he has made and still continues to make,
there will be an account in another place.

The Roman Pietro Paolo Galeotto, also, has executed for Duke Cosimo, as
he still does, medals with portraits of that lord, dies for coins, and
works in tarsia, imitating the methods of Maestro Salvestro, a most
excellent master, who produced marvellous works in that profession at
Rome.

Pastorino da Siena, likewise, has executed so many heads from life, that
he may be said to have made portraits of every kind of person in the
whole world, great nobles, followers of the arts, and many people of low
degree. He discovered a kind of hard stucco for making portraits,
wherewith he gave them the colouring of nature, with the tints of the
beard, hair, and flesh, so that they had the appearance of life itself;
but he deserves much more praise for his work in steel, in which he has
made excellent dies for medals.

It would take too long if I were to speak of all those who execute
portrait-medals of wax, seeing that every goldsmith at the present day
makes them, and a number of gentlemen have given their attention to
this, and still do so; such as Giovan Battista Sozzini at Siena, Rosso
de' Giugni at Florence, and very many others, of whom I shall not now
say more. And, to bring this account to conclusion, I return to the
steel-engravers, of whom one is Girolamo Fagiuoli of Bologna, a master
of chasing and of copper-engraving, and another, at Florence, is
Domenico Poggini, who has made, as he still does, dies for the Mint,
with medals of Duke Cosimo, and who also executes statues of marble,
imitating, in so far as he is able, the rarest and most excellent
masters who have ever produced choice works in these professions.

FOOTNOTE:

[12] Giovanni of the Cornelians.

[13] Domenico of the Cameos.

MARC' ANTONIO BOLOGNESE AND OTHER ENGRAVERS OF PRINTS

LIVES OF MARC' ANTONIO BOLOGNESE AND OF OTHER ENGRAVERS OF PRINTS

Seeing that in the Treatise on the Technique of Painting there was
little said of copper-plate engraving, since it was enough at that time
to describe the method of engraving silver with the burin, which is a
square tool of iron, cut on the slant, with a sharp point, I shall use
the occasion of this Life to say as much on that subject as I may
consider to be sufficient. The beginning of print-engraving, then, came