Of these various wares we give illustrations. The three vases we reproduce are fine examples in imitation of porphyry and other precious stones (see p. 256). The material is so hard that it can be worked upon by the lapidary, and takes as fine a polish as the real stone it resembles. [Illustration: WEDGWOOD JASPER VASE. _By courtesy of Messrs. Josiah Wedgwood & Sons._] Of the celebrated basaltes or black ware, sometimes called Egyptian ware, the vase we reproduce as the first made at Etruria was of this class, and we give two other examples. We give two very beautiful specimens of the Jasper ware. This wonderful ware was made in seven colours: blue, lilac, pink, sage-green, olive-green, black, and yellow. Specimens of this last colour are very rare. [Illustration: WEDGWOOD BLUE AND WHITE JASPER VASE. _In Museum at Etruria._] “Future ages may view the productions of the age of George III. with the same veneration that we now behold those of Alexander and Augustus,” writes Wedgwood of his cameo portraits, with fine enthusiasm. [Illustration: _Reproduced by kind permission of Messrs. Wedgwood & Sons._ WEDGWOOD PLAQUE (designed by Flaxman). L’ENTENTE CORDIALE. Mercury uniting the hands of England and France.] Having dealt with the biographic side of Wedgwood ware, and of the genius of the great Josiah Wedgwood, and having enumerated the various classes of ware originated by him, we come now to the consideration of his classic wares, of which the wonderful replica of the Portland Vase stands as the most notable example. [Illustration: THE BARBERINI OR PORTLAND VASE. (Copied by Josiah Wedgwood.) _In British Museum._] In passing, we mention the celebrated service of Wedgwood made for the Empress Catherine II. of Russia, which took eight years to complete. It consisted of 952 pieces, of which the cost was about £3,000. This splendid service had upwards of 1,200 views of the seats of noblemen and gentlemen in various parts of England. A large service for Queen Charlotte of views in black enamel of palaces and seats of the nobility took three years to execute. To his celebrated “Jasper” ware, Wedgwood devoted immense and never-ending skill to bring it to its final perfection. The use to which he put this jasper is well illustrated in his series of beautiful portrait medallions. We reproduce a design of a plaque by Flaxman, representing the hands of France and England being joined together by the god Mercury. Wedgwood was enabled, by the patronage of noblemen who possessed fine classic examples and gladly lent them to the great potter, to copy some of the finest specimens of the old art of the Greeks. He was thus enabled to produce the celebrated “Dancing Nymphs” and the “Head of Medusa” from Sir William Hamilton’s collection; and to other great collections he was similarly indebted.