[Illustration: Fig. 18.—Maiolica Plate; Caffaggiolo Ware. (S.K.M.)] The tazza (Fig. 19) is another example of this ware. The fine plate (Fig. 18) is thought to be a work from the same botega, and the subject is supposed to represent Raphael and the Fornarina. The plate (Fig. 15) is an example of the mezzo-maiolica ware, and is anterior to the date 1500. The more beautiful one (Fig. 20) is a work dating from the first years of the sixteenth century, at the time when the stanniferous glaze was coming into use. Both these plates are supposed to be from the Pesaro fabriques. They may have been made as wedding presents from the bridegroom to the bride, and are portrait dishes, with an inscription on the ribbon, with the name of the bride, or some endearing motto. These plates are known as “amatorri” pieces. The colours used in the Pesaro maiolica are yellow, green, manganese, black, and cobalt blue, and have what is known as the “madreperla” lustre, which has a beautiful changing effect in colour. The outlines are manganese, and the flesh left white in the best pieces. The finest work executed in Pesaro came from the fabrique of Lanfranco in the years 1540-45. [Illustration: Fig. 19.—Plateau or Tazza; Caffaggiolo Ware.] The products of the Sienese potteries are worthy of being ranked with the best works of Pesaro and Caffaggiolo, to which they are closely allied. There is a fine pavement of tiles in the Kensington Museum from the Petrucci Palace at Siena, dated 1509. Benedetto is the name of an artist of the Sienese school, who painted in maiolica, from whose hand most of the best Siena maiolica has come; the drug pot (Fig. 21) and the two plates (Figs. 22 and 23) are works of his. On the drug pot, tiles, and some large dishes, grotesques were very much used as ornament, and in colour, yellow, orange, and particularly black grounds, were used in the Siena production. [Illustration: Fig. 20.—Pesaro Portrait Dish (about 1500). (S.K.M.)] The maiolica wares of Gubbio are the most celebrated in all Italy, as regards their richness and beauty of colouring; this, of course, was due mostly to the beautiful effects gained by the unique ruby and gold lustres used at this fabrique. The name of one man, Maestro Giorgio Andreoli, as the chief artist, is connected with the Gubbio ware. He was a native of Pavia, and came of a noble family. He finally established himself at Gubbio, where he was made a “Castellano” of that city in 1498, and enjoyed the patronage of the Dukes of Urbino. He was a modeller as well as a painter of maiolica, and is said to have executed some altar-pieces in relief before coming to Gubbio. In the Kensington Museum there is a bas-relief of St. Sebastian which is supposed on good authority to be a work of his hand; it is coloured with the gold and ruby lustres. [Illustration: Fig. 21.—Drug Pot; Siena. (S.K.M.)] [Illustration: Fig. 22.—Siena Plate. (S.K.M.)] [Illustration: Fig. 23.—Siena Plate. (S.K.M.)]