One of the finest specimens of this master belongs to Mr. Henderson; the central subject is that of Mutius Scævola before Porsenna; it is painted with great care and is surrounded by a border of grotesques on orange ground. On the reverse is the mark in the accompanying woodcut. The grotesques upon the border of a large dish in the British museum are painted upon a black ground, an unusual style which also occurs on some of the tiles of the Petrucci pavement, and is we believe almost peculiar to this botega. [Illustration] [Illustration] We lose sight of the Sienese pottery for two centuries, when it again appears under the then best ceramic painter in Italy, Ferdinando Maria Campani who is said, but we do not know on what exact authority, to have worked also at Castelli and at San Quirico. A piece signed by him is at South Kensington. His subjects, as in this instance, were frequently taken from the Bible series of Raffaelle as rendered by Marc Antonio’s engravings, and from the works of the Caracci. Some extremely well executed tiles, plates, &c. copied and adapted from the old, have also been produced within the last few years at Siena under the superintendence of signor Pepi, a druggist, opposite the Prefecture. We have occasionally met with some of these, scratched and chipped by other _artists_ to suit the modern-antique market. The small town of MONTE LUPO, nestling under its “rocca” on the southern bank of the river at the opening of the Val d’ Arno inferiore, is on the road from Florence and near to Empoli. Its pottery is distinguished (or we should rather say notorious) for having produced the ugliest and most inferior painted pieces that bear the signature of their maker and the place where they were made. But a ware of a different kind formed of a red clay and glazed with a rich treacle-brown or black glaze, the forms of the pieces being sometimes extremely elegant, has been also assigned to this locality. Some of them are enriched with gilding and with subjects painted in oil colours, not by a ceramic artist. We are informed, however, by signor Giuseppe Raffaelli that wares of this description were made at Castel Durante, and that a fine example of them, with portraits of a count Maldini and his wife, is preserved in the library at Urbania. He describes them as made of a red earth covered with an intensely black glaze, on which the oil painting and gilding were executed. It is nevertheless probable that Monte Lupo produced a similar ware, and pieces occur ornamented with reliefs and with raised work, _engobé_, with a white or yellow clay on the brown ground, by the process known as _pâte sur pâte_. Certain pieces marbled on the surface to imitate tortoiseshell, agate, &c. are ascribed to this pottery. At Sèvres is a tazza with ill painted subject on white ground and inscribed,-- “_Dipinta, Giovinale Tereni_ “_da Montelupo._”