ntion was
given to ingenuity, and not enough to fitness and beauty.

[Illustration: RELIQUARY AT ORVIETO]

In documents of the fourteenth century, the following list of goldsmiths
is given: Jean de Mantreux was goldsmith to King Jean. Claux de
Friburg was celebrated for a gold statuette of St. John which he
made for the Duke of Normandy. A diadem for this Duke was also
recorded, made by Jean de Piguigny. Hannequin made three golden crowns
for Charles V. Hans Crest was goldsmith to the Duke of Orleans, while
others employed by him were Durosne, of Toulouse, Jean de Bethancourt,
a Flemish goldsmith. In the fifteenth century the names of Jean de
Hasquin, Perrin Manne, and Margerie d'Avignon, were famous.

Artists in the Renaissance were expected to undertake several branches
of their craft. Hear Poussin: "It is impossible to work at the
same time upon frontispieces of books: a Virgin: at the picture
for the congregation of St. Louis, at the designs for the gallery,
and for the king's tapestry! I have only a feeble head, and am
not aided by anyone!"

A goldsmith attached to the Court of King Rene of Anjou was Jean
Nicolas. Rene also gave many orders to one Liguier Rabotin, of
Avignon, who made him several cups of solid gold, on a large tray
of the same precious metal. The king often drew his own designs
or such bijoux.

Among the famous men of Italy were several who practised the art of
the goldsmith. Ugolino of Siena constructed the wonderful reliquary
at Orvieto; this, is in shape somewhat similar to the facade of
the cathedral.

Verocchio, the instructor of Leonardo da Vinci, accomplished several
important pieces of jewelery in his youth: cope-buttons and silver
statuettes, chiefly, which were so successful that he determined to
take up the career of a sculptor. Ghirlandajo, as is well known,
was trained as a goldsmith originally, his father having been the
inventor of a pretty fashion then prevailing among young girls of
Florence, and being the maker of those golden garlands worn on
the heads of maidens. The name Ghirlandajo, indeed, was derived
from these garlands (ghirlandes).

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