Scripture subjects are perhaps more general upon the pieces of early date, particularly those of Faenza, on which designs from Albert Dürer, Martin Schön, and other German painters are found, executed with the greatest care; such subjects were also used at Caffaggiolo. The spirit of the renaissance awakening a passion for the antique declared itself in the numerous representations from Greek and Roman history and mythology, scenes from Homer, the metamorphoses of Ovid, and the like, which formed the main stock subjects for the wares of the Umbrian fabriques, excepting always the sacred histories delineated so admirably by Orazio Fontana and others, from the designs of Raffaelle and his scholars. It was among the artists of this duchy that the habit of writing the subject on the back of the piece chiefly prevailed, with specimens of curious spelling and strange latinity. Transmutation of subject is not rare, as the burning of the “Borgo” for the siege of Troy, and others. The forms appear to have varied considerably at different localities of the craft, partaking of a classic origin, mixed with some orientalism in the earlier and gothic forms in the more northern pieces; but upon all the exuberance of fancy and rich ornamentation characteristic of the Italian “cinque-cento” is made evident, as it is upon the furniture, the bronzes, and the jewellery of that artistic period. [Illustration] There can be little doubt that the maiolica and finer painted wares were looked upon at the time they were produced as objects of ornament or as services “de luxe.” The more ordinary wares or _dozzinale_ were doubtless used for general domestic purposes in the houses of the higher classes, but the finer pieces decorated by better artists were highly prized. Thus we find that services were only made for royal or princely personages, frequently as presents. Some of the choicest specimens in our cabinets were single gift pieces; small plates and _scodelle_ which it was then the fashion for gallants to present, filled with preserves or _confetti_ to ladies. Many of these are of the form known as _tondino_, small, with a wide flat brim and sunk centre; in this the central medallion is generally occupied by a figure of Cupid, hearts tied by ribbon, or pierced by arrows; or by joined hands and similar amatory devices, or with a shield of arms and initial letters. The borders are painted with grotesques and trophies, among which sonnets and music sometimes occur, and medallions with love emblems, portraits, and armorial bearings. These _amatorii_ pieces also occur as large plates and deep saucers, the surface of each entirely covered with a portrait of the beloved (as in the engraving p. 63) accompanied by a ribbon or banderole, on which her name or a motto is inscribed, often with the complimentary accompaniment of “bella,” “diva,” “paragon di tutti,” &c. Jugs, vases, and other shaped pieces were also decorated in a similar style.