And while the silver forks were just dallying with the appetising delicacies that introduced the more serious business of the supper—such as morsels of liver, cooked to that exquisite point that they would melt in the mouth—there was time to admire the designs on the enamelled silver centres of the brass service, and to say something, as usual, about the silver dish for confetti, a masterpiece of Antonio Pollajuolo, whom patronising Popes had seduced from his native Florence to more gorgeous Rome.
“Ah, I remember,” said Niccolò Ridolfi, a middle-aged man, with that negligent ease of manner which, seeming to claim nothing, is really based on the lifelong consciousness of commanding rank—“I remember our Antonio getting bitter about his chiselling and enamelling of these metal things, and taking in a fury to painting, because, said he, ‘the artist who puts his work into gold and silver, puts his brains into the melting-pot.’ ”
“And that is not unlikely to be a true foreboding of Antonio’s,” said Giannozzo Pucci. “If this pretty war with Pisa goes on, and the revolt only spreads a little to our other towns, it is not only our silver dishes that are likely to go; I doubt whether Antonio’s silver saints round the altar of San Giovanni will not some day vanish from the eyes of the faithful to be worshipped more devoutly in the form of coin.”
“The Frate is preparing us for that already,” said Tornabuoni. “He is telling the people that God will not have silver crucifixes and starving stomachs; and that the church is best adorned with the gems of holiness and the fine gold of brotherly love.”
“A very useful doctrine of war-finance, as many a Condottiere has found,” said Bernardo Rucellai, drily. “But politics come on after the confetti, Lorenzo, when we can drink wine enough to wash them down; they are too solid to be taken with roast and boiled.”
“Yes, indeed,” said Niccolò Ridolfi. “Our Luigi Pulci would have said this delicate boiled kid must be eaten with an impartial mind. I