Take a very clean lamp with its cotton wick as white as possible,
its oil, too, should be old, sweet and clear, then stand it on the
ground, or, if you like, between two bricks. On the top of the two
bricks put a concave copper disc, its upper surface cleanly polished,
and its under surface acted upon by the flame to a third part of
it, but not more. Be careful that only a very little soot collects
on the disc at a time, because if too much soot comes, it may catch
fire and be no use to you. Then, from time to time, while the flame
smokes, take a little smooth paper and brush the smoke soot off the
disc into a clean vessel. You may know that the soot doesn’t catch
fire till it grows to a coat the thickness of two big knife backs, so
you needn’t fear to let it smoke itself to a thickness of one knife
back at a time. Then you take mastic,[41] a sort of gum that every
apothecary sells, not, however, too fresh; you may know the fresh gum
by its being bright and pale; on the other hand it mustn’t be too
old, and the old gum you will know by its being yellow and dry, and
of little substance. When you have chosen the right sort of mastic,
neither too fresh nor too dry, you proceed to select from it the
roundest and cleanest grains, because, you know, when they fall from
the tree they are apt to absorb earth and other impurities. All this
done, as I have told, you put a little pan of live charcoal on the
bench, and heat at it some small pointed steel instrument, with which
you proceed to spike one of the mastic grains, not, however, spiking
it right through the middle. This you then hold nearer and nearer to
the fire till it begins to get hot, when you quickly, with a little
spittle on your fingers, squeeze the hot mastic grain; the result of
this squeezing will be a tear-drop, as limpid and pure as you can
possibly imagine. Then quickly cut it off with a pair of scissors
from the dirty part of the grain, and save it in a clean place. This
process you repeat till you have as many mastic tears as you need.
Then you set to and make your linseed oil, & this is how you do it.
You pick out the cleanest and best grains, grains without insect
holes and perfect, and place a handful at a time on a porphyry stone,
or a very clean copper or iron plate. On this you spread the grains,
and place over them an iron plate about one finger thick and five
fingers square, this plate having been previously heated so that
it would singe paper, but no hotter. To the weight of it you add
the pressure of some great hammer, and then you will soon begin to
see the oil oozing out of the grains, but you must mind that your
iron is neither too hot nor too cold, for if it be too cold the oil
won’t ooze out, and if too hot it will be scorched up and bad, but
if well-tempered the oil will be admirable. Then ever so carefully
you lift up the plate and the grains, and with a clean knife scrape
off the oil. You have also to note that what is first pressed from
the grain is a little water, this you will tell by its running to
the edges of the stone, while the genuine oil remains in the middle.
Then you take the oil and put it into a clean glass vase. Next you
have also to provide a little sweet almond oil; and some folk use
olive oil two years old, not more, and very sweet and clean. Then you
want a spoon about four times the size of an ordinary spoon, and have
in readiness your pan of live charcoal. You put your tear drops of
mastic into the spoon, and, with a very clean silver or copper spoon,
you begin to melt them over the fire. When your mastic is melting you
add a little of the grain oil to it, in proportion about one part of
linseed to six of mastic, and so mix the two liquids together, then
apply the third, be it oil of olive or almond. After they are fused
you add a little purified turpentine, and finally the lampblack you
prepared to begin with, putting just so much & no more, as you need
for your tint.
Divers sorts of diamonds require some a darker, some a lighter
tint; some again need a softer, some a harder tint, and so it is
necessary, whenever you are setting a diamond of great importance,
to try it with the hard and the soft, or with the dark and the light
in accordance with the quality of the stone and the judgment of the
good jeweller. Some have put as little lampblack as possible when
tinting a diamond that seemed too yellow, and have instead mixed with
their tint indigo, a blue colour known to every painter. They have
even let indigo entirely take the place of lampblack, & this did they
do when they tinted a diamond that looked like clear topaz. In these
cases was a dark tint applied with admirable effect, and for this
reason, by mixing the two colours, blue and yellow, they make green,
hence the yellow diamond with the blue tint made an admirable water;
and, if it be well applied, it becomes one colour, neither yellow as
heretofore nor blue owing to the virtue of the tint, but a variation,
in truth, most gracious to the eye. Inasmuch as all stones have,
then, to be treated in accordance with the ability of the master and
the quality of the stone, the cunning with which you treat them will
depend on the amount of your experience in the art applied to each
particular stone, and each several occasion.
Now to return to that big diamond, a notable example of its kind,
that I set for Pope Paul, and which I had only to tint, because
the setting was already made. As I told you, I had asked Rafaello,
Guasparri and Gaio to allow me some two days’ space; during this time
I made a set of experiments in tints, and by great labour produced a
composition which made a much finer effect beneath the diamond than
had been made by the master, Miliano Targhetta. And when I had made
sure that I had beaten so admirable a man, what did I do but set
to work anew with still greater energy to see if I could not beat
even myself. As I told you above, this particular diamond was a most
peculiarly difficult one to manage because of its subtlety,[42] and
the good jeweller is he who produces his effect with the tint alone
without having recourse to the reflector,[43] about which I shall
have occasion to speak in its place.
When I had quite satisfied myself I sent to fetch the three old
jewellers, and when they arrived I had arranged all my tints in order
for them. When the three appeared that presumptuous Gaio marched into
the shop first, and seeing all my apparatus neatly ranged about for
the purpose of tinting the stone in their presence, he straightaway
began wagging his head, pumping about with his hands, and chattering.
‘Benvenuto,’ said he, ‘all this is mere sillyness, mere bagatelle,
you just turn up again that tint of Master Miliano’s, and apply
it, and don’t lose any time about it, because we haven’t any to
waste, owing to all the important commissions we have to execute for
the Pope.’ At this Raphaello seeing that I was just about to fly
into a most terrible passion, interposed; he was a good fellow was
Raphaello, and also the oldest of them, and he began to say soothing
words to me, encouraging things, and such-like, and so just calmed
me in time. The other man also, Master Guasparri Romanesco, in order
to put a damper on that beast of a Gaio, he too began saying things,
funny things which didn’t come off, because I wasn’t in a mood for
funny things. After a bit, perceiving that I was getting to be a
source of quarrel between the three men, I turned to them and spake
thus: ‘God Almighty,’ said I, ‘has, with the gift of speech, granted
to mortals four different ways of expressing themselves, and these
are they: the first is called _to reason_, which means to explain the
reason of things in a sensible way; the second is called _to talk_,
which means to make words, words of good import that is, and which,
if they don’t explain the reason of things, may yet be in the way of
doing so; the third is called _to chatter_, and that means to say
things of little value, funny things that sometimes please, and that
don’t hurt you; the fourth is just to _grasshopper gabble_,[44] and
nothing more, and that’s what people do who hav’n’t got any sense in
their heads at all, and want to show it off as much as they can. So,
my good friends, I will just reason with you, and expound to you my
reasons. Master Raphaello, of a sooth, has talked elegant words,
sound words; Master Guasparri, to cheer us up, has chattered a few
amiable and funny things, none of which have got anything to do with
what we have in hand; Gaio, what has he done? why just drivelled
in the most sickening way, but since his grasshopper gabble hasn’t
done me any special injury I’m not going to lose my temper over him,
and shall just take no notice of him at all. So now I pray you,
gentlemen, just to let me tint the diamond in your presence, & if my
tint does not turn out better than Master Miliano’s, I can still use
his, and I shall have shown you how at least I have tried my best to
improve it.’
Scarce had I finished these words of mine when that beast of a Gaio
called out, ‘So according to this I’m a driveller, am I?’ Whereupon
the good Raphaello began soothing him down with amiable words till
the beast got a bit pacified; I meantime set to work with my tints
upon the diamond. Raphaello and Guasparri were all agog to see me
tint the diamond, and first I tinted it with my own tint, the first
one, and this showed up so well that they were in doubt as to whether
or not I had not surpassed that of Miliano; and they praised me
abundantly. Then Raphaello turned to Gaio and said: ‘You see, Gaio,
that Benvenuto’s tint, even if it has not surpassed Miliano’s, makes
a close second; and so ’tis always right to give encouragement to
a young man like Benvenuto who tries to do well.’ I turned to him,
thanked Raphaello for his pleasant words, and said, ‘Now, my good
friends, we’ll take out my tint, & in your presence put in Master
Miliano’s, and then shall we be better able to judge on which the
diamond makes best.’ I quickly took out mine & put in Miliano’s.
Raphaello and Guasparri said that the stone showed better with mine,
and all three said that I should re-apply my tint as rapidly as I
could before the impression was lost to their eyes. Whereupon I
replaced mine quickly and handed it them. All three were agreed, and
Gaio before all—his ass’s face quite beaming up—and they declared
most amiably that I was a clever fellow, that I had good reasons for
my action, & that I had beaten Master Miliano’s tint by a long way, a
thing they never imagined possible. At this I made a bow, not without
a little pride,[45] but so as not to be noticed, and said to them:
‘Dear masters, since you have vouchsafed me such kind encouragement
to so good an end, I am only too ready on my part to be judged by
you, and since you admit that I have beaten Miliano, will you now
decide whether or not I have beaten myself, only just give me a
quarter of an hour’s grace?’
Therewith I left them and went up to the attic of my house, where
I had all in order that I wanted to do. What I did there I’ll tell
you now, I’ve not told it anyone yet, and it brought me much honour
in this diamond, but it does not necessarily succeed in others, and
cannot be done without much labour and experience. I took a fair
sized grain of mastic, cleared it well of its skin as I told above,
so that it was as pure and bright as possible, & with all imaginable
delicacy, having well cleaned the diamond, spread it over the stone
with the aid of a moderate fire. Then I let it cool, holding it tight
with the tongs used for tinting. When dry and cool I had my black
tint ready, spread the same carefully and before a gentle heat on
the top of the clear coat of mastic. This method suited so well to
the tenderness and peculiar water of the diamond in question, that
it seemed to remove from it any internal imperfections & make of it
a stone of perfect quality. Then down I ran and put it into Master
Raphaello’s hand. He uttered an expression of astonishment like
you do when you see a miracle. The two others, Guasparri and Gaio,
likewise expressed amazement, only more so, and praised me up to the
skies, Gaio even so far let himself down as to begging my pardon.
Then they said to me, all three of them together: ‘12,000 scudi was
the worth of this diamond before, but, of a truth, it is worth 20,000
now.’ We shook hands amicably and parted the best of friends.
FOOTNOTES:
[41] _The varnish resin, commonly called gum mastic._
[42] _Sottile_; i.e., _the refinement of the water_.
[43] _Specchietto._
[44] _Elsewhere, in one of his minor treatises on the arts, Cellini
defines this word ‘Cicalare’ as the chatter of birds, a murmur of
neither concord nor discord._
[45] _Baldanza_: _swelling, brag_.