Well-nigh all the history we have of the early artistic pottery of SIENA may be read upon the specimens of her produce, preserved in our museums and private collections. A considerable number of pieces, evidently the work of one able hand, has been variously assigned to the furnaces of Faenza, of Caffaggiolo, and of Pesaro; to the first two from a general similarity in the character of their design. On the other hand, the initials I. P. occurring in large characters on the reverse of some of the pieces were presumed to be those of the words “In Pesaro,” and led to a confusion of them with others really painted at the Lanfranchi works at Pesaro and marked with the same initials but in a smaller form; standing for the signature of the artist, “_jiacomo pinsit_.” These last, then unknown to collectors, were cited by Passeri who was supposed to refer to the far more beautiful works now under consideration. The acquisition, however, of a pavement of tiles from the Petrucci palace at Siena, dated 1509, and the knowledge of the existence of others of a similar stamp in the church of San Francesco in that city, the style of handling as well as the design and colouring upon which agreed closely with these works; a fine dish in the British museum in the same manner, and on which occurs one of the same coats of arms as those upon the pavement of the Petrucci; and the further acquisition of a small plate, the painting of which in blue camaïeu is assuredly in the manner of the finer examples above referred to, and which is signed on the reverse “_fata i Siena da mº benedetto_;” form together a chain of evidence conclusive as to the existence of this fabrique, and the origin of the various pieces in question. The South Kensington museum possesses very important specimens of this master’s work; and the connexion of the [Illustration] several examples is very minutely traced in the large catalogue of Maiolica. We need only, therefore, generally observe that they are worthy of being ranked among the most excellent productions of the potter’s skill in Italy during the earlier years of the 16th century; and that in respect of their technical characteristics, and the tone and manner of their colouring and design, they are more nearly allied to the productions of the Caffaggiolo furnaces, from which in all probability the inspiration of them was derived. We give woodcuts of three of these beautiful pieces: nos. 1569, 1792, and 4487. The last of these is very interesting on account of the mark and inscription upon the reverse (also engraved p. 99), showing that the painter was probably Benedetto himself, who was then the head of the establishment. The drawing of the central figure is masterly and finished with the utmost care. [Illustration] [Illustration]