With a sigh he turns from it to contemplate this old plate of mezza-majolica. Opal-hued, iridescent, it darts at him as he gazes upon it subtle flashes of blue and yellow and ruby-hued flame, rejoicing his soul with a deep unalterable conviction that it at least is real. He acquired it in Urbino, many, many years after he became the happy possessor of the Lucca della Robbia cup. He paid a full price for it too; but although a close man, he does not, and has never regretted the imprudence. At the sight of that beautiful plate, which he is pleased to call unique, his charmed heart melts away into softness, and his purse-strings begin to relax of their own accord. It moves his spleen to see careless visitors pass it by, as they sometimes do, to gaze at the soft beauty of that bright yellow-robed maiden, with dove upon her hand, who hovers self-forgetful upon the very verge of a pea-green china sea. The poor old quaint plate of mezza-majolica, gleaming there like a veritable jewel, is a treasure he jealously guards, and of its history we would say a few words. The Italian enamelled earthenware which became famous under the name of Majolica, was first produced in 1300 in a town in the duchy of Urbino, which was under the feudal sway of the Malatestas, who were lords of Pesaro. Vessels of red clay such as had been long in use were covered with a thin coating of white earth obtained from the neighbourhood of Siena, and upon this ground different coloured patterns were traced. The vessels were then partly baked and covered with lead-glaze, after which they received a final firing. This delineation of coloured patterns upon an opaque white substance was the humble germ out of which the splendid many-hued majolica ware grew. The colours employed were usually yellow, green, blue, and black; and the soft lead glaze, which was easily affected by external influences, imparted to the pottery that metallic iridescent lustre which is the special characteristic of majolica. To the Spanish Moors, this art was also well known; and some of their beautiful masterpieces finding their way into Italy, acted as a fillip to the infant art, which long remained swathed in rude and ungraceful swaddling-bands. While it was in this transition state, a new tin glaze was discovered, and applied to terra-cotta bas-reliefs by the famous Lucca della Robbia, and the lordship of Pesaro was sold to the house of Sforza. The new feudal superiors took an extreme interest in the potteries, and granted such special privileges to the manufacturers, that in a short time they succeeded in making Pesaro famous for the production of majolica. Early specimens of the ware manufactured here are generally adorned with Moorish arabesques and coats of arms. Heads of saints are also a favourite study, and so are heathen goddesses; while heads of the popes and Dukes of Urbino abound, the name being affixed, to prevent all mistake as to the portrait.