of Faenza with border of grotesques and central shields of arms, in the painting of which the characteristic red is used and on which is the date 1507 with the mark; that curious combination of letters P.L and O. Another is dated 1509. The letters S. P. Q. F. occur among the ornaments. M. Jacquemart considers as of the first period, those pieces having letters allusive to the Florentine republic, or the Medici arms and emblems; or the motto of Giuliano di Medici. “Glovis” also occurs, which has been ingeniously deciphered as meaning “Si volg,” “it (fortune) turns,” if read backwards: referring to the favour shown to Giuliano when appointed Gonfalonier to the Church. A noble pitcher at South Kensington no. 1715 (p. 93) has the Medici arms; and, beneath, also the motto _Glovis_. A large carelessly painted dish, in the British museum, the subject Abel’s sacrifice, has the word “GLOVIS” and the letters S. P. Q. R. on the altar, and on the reverse the name, curiously spelt, “In Chafaggilolo” between the ordinary mark twice repeated. The name seems to have been spelt in various ways, as “Cáffagiulo,” “Cafagiol,” “Caffaggiolo,” “Chaffaggiolo,” “Chafaggilolo,” “Gafagizotto,” &c. Some of the specimens at South Kensington are of extraordinary beauty. Of the more interesting may be instanced no. 7154, lustred, having the Caffaggiolo mark painted on the reverse in the yellow pigment. The large circular dish no. 8928 on which is represented a procession of Leo X. is curious as a contemporary work and for the costume. The St. George after the statue by Donatello, no. 1726, is of great excellence, as is the interesting plate engraved above, p. 44, on which a ceramic painter is represented at work in the presence of a gentleman and lady, probably portraits of personages of high standing, as also of the painter himself. It is to be regretted that he refrained from recording their names and was content with affixing only the monogram of the fabrique at the back of the piece. The beautiful plate with central subject of Vulcan forging a wing and elegant border of grotesques, masks, cupids, &c., no. 2990, is probably by the same hand as the two last referred to and is a fine example. The large jug already referred to having the Medici arms on the front and other devices of that family, no. 1715, is remarkable for its excellence of glaze and colour, as well as for [Illustration] its historical associations. So, again, is the vase no. 321 made for the Medici at a somewhat later date; and which we also engrave. CHAPTER XI. SIENA AND PESARO.