perhaps infer that only a few experimental pieces were made, and that this method of enrichment was but little used. A small [Illustration] plateau at South Kensington, no. 7154, represented in the woodcut is an important example, having the mark. As might be expected, the arms, emblems, and mottoes of the Medici family frequently occur, and occasionally the letters S. P. Q. F. are introduced on labels for “_Senatus populusque Florentinus_.” M. Jacquemart considers that some of the early groups, &c. in relievo and in the round and early plaques with the sacred emblem, the majority of which are generally ascribed to Faenza, may be of this botega. We quite concur with him in this opinion. The South Kensington museum is rich in fine specimens of this ware of various date and great variety, some of which are among the most admirable examples of the potter’s art. It is remarkable that we have no recorded names of the artists who painted these beautiful pieces, and it is only at the latter end of the sixteenth century that we find mention of Giacomo and Loys Ridolfi of Caffaggiolo, who emigrated with other potters from the then less encouraged manufactories of Italy to try their fortune in France. M. Jacquemart tells us that these potters or painters founded a “_faïencerie_” in 1590 at Marchecoul, in Bretagne. Some confusion has arisen among connoisseurs in France and elsewhere as to the wares of Caffaggiolo and those of Faenza, and indeed it is frequently difficult to draw the line of distinction; but we can hardly follow M. Jacquemart in his historical classification, believing that some of the pieces assigned by him to this fabrique do not really support their claim. A similar remark may apply to many of those in the Louvre ascribed to this pottery by Mons. Darcel. Two large and finely painted early dishes (presented by Mr. Franks) are in the British museum; they were probably made about 1480-1500. On one is a group of saints, after an engraving by Benedetto Montana, on red ground, with a border of leafage moulding and peacock’s feather ornament. On the other is the subject of the Judgment of Solomon. The colours on these pieces are very rich, with much of the characteristic red pigment; the bold and firm drawing has an archaic tendency which points to an early period. The earliest dated piece having a mark and with reason believed to be of this fabrique, is a plate in the style [Illustration]