A modification of this composition, perhaps also learnt from Hispano-moorish potters, became gradually known and adopted at various fabriques, spreading throughout the potteries of Italy, France, &c. We are inclined to M. Jacquemart’s opinion that it first came into use at Caffaggiolo, the fabrique established under the influence of the Medici family, but cannot consent to his suggestion that Luca learnt there the composition of the enamel. We agree with Mr. Robinson in giving the precedence, or at any rate an equality in point of age, to Faenza, and in ascribing to that place certain figures and groups in alto-rilievo, bearing inscriptions in Gothic letters, the modelling and design of which are more characteristic of the north of the Apennines than of the Tuscan valley. Andrea della Robbia, to whom his uncle’s mantle descended, also painted occasionally on plane surfaces, as may be seen on tiles which cover the flat surface of a “_lavabo_” in the sacristy of the church of Sta. Maria Novella, in Florence. We would merely further note the fact that in 1520 the art was in decadence under the hand of Giovanni the son of Andrea, Luca’s nephew, and that during the first quarter of that century various imitators produced inferior works in the same style, copying the models of the Della Robbia and the works of some other sculptors. By Giovanni’s brother Girolamo it was introduced into France, where the château de Madrid was decorated by him under the patronage of Francis the first. In Italy, Agostino di Antonio di Duccio, said to be a pupil of Luca, worked at Perugia in 1459-61, where he executed enamelled bas-reliefs on the façade of the church of S. Bernardino, and in S. Domenico. Pier Paolo di Agapito da Sassoferrato is said to have erected an altar in this manner in the church of the Cappucini in Arceria, in the diocese of Sinigaglia, in the year 1513. He was also a painter. An able modeller as well as artist potter Maestro Giorgio Andreoli, of Gubbio, also appears to have executed works in the manner of the Della Robbia. The practice of enamelling large works modelled in terra-cotta would seem to have gone out of repute before the end of the first half of the sixteenth century; not perhaps so much from the secret of the glaze being known only, as we are told, to the descendants of the Della Robbia family, as from the want of demand for works in that material.