In a supplement Piccolpasso gives us an account of the manner of making _maiolica_, and it will be observed that throughout his narrative he has never applied that term to the painted and glazed wares produced at his own botega, or at any of the others to which he refers. He tells us that he feels he ought not to omit the account of it which he has received from others, although he has never made or even witnessed the making of it himself. “I know well” he says “that it is painted over finished works; this I have seen in Ugubio, at the house of one Maestro Cencio.” The portion of the design which is to receive the lustre colour is left white at the first painting; thus, a figure in a grotesque whose extremities are to be lustred will only have those parts painted which are to be coloured, leaving the extremities merely sketched in outline upon the white ground; these, after the colours have been set by firing, are subsequently touched with the lustre pigment. The process of firing differs from the former one, because the pieces are not enclosed in seggars but are exposed to the direct action of the flames. The furnace also is differently constructed, the fire chamber square in form, having no arched roof pierced with holes but only two intersecting arches of brick to support the chamber above, the four corners being left as openings for the free current of the flames. Upon these arches is placed a large circular chamber or vessel, formed of fire-clay, which fits into the square brick structure, touching at the four sides and supported on the intersecting arches beneath, but leaving the angles free. This inner chamber is pierced in all directions with circular holes, to allow the flames free passage among the wares. The method of building these furnaces is kept guarded, and it is pretended that in it and the manner of firing consist the great secrets of the art. The _scudelli_ are packed with the edge of one against the foot of another, the first being supported on an unglazed cup. The furnaces are small, only from three to four feet square, because this art is uncertain in its success, frequently only six pieces being good out of one hundred; “true the art is beautiful and ingenious, and when the pieces are good they pay in gold.” The fire is increased gradually, and is made of _palli_ or dry willow branches; with these three hours firing is given, then, when the furnace shows a certain clearness, having in readiness a quantity of dry broom cease using the willow wood, and give an hour’s firing with this; after, with a pair of tongs remove a sample from above. Others leave an opening in one of the sides by which a sample or trial, painted on a piece of broken ware, can be removed for examination, and if it appears sufficiently baked decrease the fire. This done, allow all to cool, then take out the wares and allow them to soak in a lessive of soap-suds, wash and rub them dry with a piece of