We must refer to the Introduction to the large catalogue of the maiolica collection at South Kensington for further extracts, quoting here one sentence only where the author says, “And now I will give you the ‘sbiancheggiati’ that is made in Lombardy, bearing in mind that the earth of Vicenza is used, making the design on the white earth; I would say with a style of iron of this kind (gives design), and this drawing is called ‘sgraffio.’” This is an interesting passage connecting as it does these incised wares with the fabriques of Lombardy, to which, from the character of the designs upon the earlier pieces, we have always assigned them. In his third book Piccolpasso goes into further details of the glaze and colours, manner of painting, firing, &c. The “bianchetto” which is only once baked, and the other colours, being removed from the furnace, are triturated with water on a “piletta” or hand colour mill, or by means of a pestle and mortar, to reduce them to a fine powder, and passed through a horse-hair sieve. Some grind them on a slab of porphyry which is even better. The green pigment may be baked two or three times. The “zallo” and the “zallulino,” after once or twice baking, are covered with earth and again baked in the hottest part of the furnace. The white enamel glaze, having been properly milled and fined through a sieve, is made into a bath with water to the consistency of milk. The pottery baked in biscuit is taken out of the furnace, and after being carefully dusted with a fox’s tail is dipped into this bath of glaze and immediately withdrawn, or some of the pieces may be held in the left hand while the liquor is poured over them from a bowl. A trial piece should show the thickness of glove leather in the adhering coat. The “invetriatura” having been thus applied and the pieces allowed to dry are now ready to receive the painting. This is executed with coarser and finer brushes or _penelli_, made of goats’ and asses’ hair, and the finest of the whiskers of rats or mice; the ordinary wares being held in the left hand or on the left knee and the finer in wooden cases, lined with tow, to prevent rubbing. A different brush must be used for each colour. The painters generally sit round a circular table suspended from the ceiling so that it may turn round, and upon this the different pigments are placed. The painted pieces after being dried in a clean place, taking care that the “bianco” is not chipped or rubbed off, are painted with _zallulino_ on the outer edge and are then ready to receive the “coperta” or outer glaze. The liquid of the bath must be thin, as a translucent coating only is required over the colours; into this the pieces are dipped, and being again dried are ready for the final firing.