A circular dish or “bacile” of lustred ware (Fig. 24), with the subject of two mailed horsemen in the centre, and a border of foliated ornament, is a work of the Gubbio fabrique, but is an earlier work than the time of M^{o.} Giorgio. [Illustration: Fig. 24.—Lustred Dish; Gubbio Ware. (S.K.M.)] The embossed vase in copper lustre (Fig. 25) is a very beautiful example of the stanniferous glaze and ruby copper lustre. The design is well adapted to show the “reflets” of the lustre by the variety of form on its embossed surfaces. This work is ascribed to the same artist who executed the previous example. [Illustration: Fig. 25.—Vase in Copper-ruby Lustre; Gubbio. (S.K.M.)] The tazza (Fig. 26), with the subject, “The Stream of Life,” after Robetta, is one of Giorgio’s best figure pieces. Though not very good in figure draughtsmanship, it is excellent in colour, and is cleverly heightened with ruby lustre. This and another plaque in Kensington Museum, representing the “Three Graces” after Raphael, are amongst if not the best of Giorgio’s work: for colour and richness of lustre, and for clearness and perfection of the enamel glaze, they are the best works in Italian maiolica that we possess. The date of both is probably 1525. [Illustration: Fig. 26.—The Stream of Life; Tazza by M^o. Giorgio.] A work by Giorgio is shown at Fig. 27. This is a highly decorative tazza in the best manner of Giorgio, who was very clever at this kind of design. The groundwork of this piece is blue, parts of the decoration are green, and other parts ruby, while all of the decoration is lustred. The back of this piece is covered with a yellow lead glaze, which seems to be the case with many examples of maiolica. Probably it was done for economical reasons. We close the list of illustrations of Gubbio ware with that of a dish, “Fruttiera” (Fig. 28). The design is simple and very good for showing the beauties of the ruby and gold lustres. It is embossed, and has been made from a mould, and is an unsurpassed example of the famous Gubbio lustre. Mr. Fortnum thinks that Giorgio obtained the secret of the ruby lustre from an artist that formerly worked at the Gubbio fabrique, and that he did not invent it, and also that all the similar lustred ware was produced at Gubbio, the wares of Urbino, Castel-Durante, and of other fabriques having been sent to Gubbio to get the final lustre added to them. [Illustration: Fig. 27.—Tazza by Giorgio. (S.K.M.)] Another artist who executed many important works at the Gubbio botega signs his productions with the letter N. Some think that this is meant for a signature of M^{o.} Cencio, a son of Giorgio who succeeded his father at the fabrique. Another name that appears on some of this ware is M. Prestino. It is known that Giorgio signed his name on many pieces that were painted by other artists or by his pupils. [Illustration: Fig. 28.—Embossed Fruit Dish; Gubbio. (S.K.M.)]