Although probably not among the earliest manufactories or _boteghe_ of Italian enamelled and painted wares, GUBBIO undoubtedly holds one of the most prominent positions in the history and development of the potter’s art in the 16th century. This small town, seated on the eastern slope of the Apennines, was then incorporated in the territory of the dukes of Urbino under whose influence and enlightened patronage the artist potters of the duchy received the greatest encouragement; and were thus enabled to produce the beautiful works of which so many examples have descended to us. Chiefly under the direction of one man, it would seem that the produce of the Gubbio furnaces was for the most part of a special nature; namely, a decoration of the pieces with the lustre pigments, producing those brilliant metallic ruby, golden, and opalescent tints which vary in every piece, and which assume almost every colour of the rainbow as they reflect the light directed at varying angles upon their surface. The woodcut (p. 112) represents a vase of great interest and beauty; no. 500 in the South Kensington collection. It is early in date; probably about 1500. The admirable way in which the moulded ornament is arranged to show the full effect of the lustre, and the bold yet harmonious design are worthy of observation. That the Gubbio ware was of a special nature, and produced only at a few fabriques almost exclusively devoted to that class of decoration, is to be reasonably inferred from Piccolpasso’s statement; who speaking of the application of the maiolica pigments says, “_Non ch’io ne abbia mai fatto ne men veduto fare._” He was the maestro of an important botega at Castel Durante, one of the largest and most productive of the Umbrian manufactories, within a few miles also [Illustration] of those of Urbino, with which he must have been intimately acquainted and in frequent correspondence. That he, in the middle of the 16th century, when all these works were at the highest period of their development, should be able to state that he had not only never applied or even witnessed the process of application of these lustrous enrichments is, we think, a convincing proof that they were never adopted at either of those seats of the manufacture of enamelled pottery. Although much modified and improved, lustre colours were not invented by Italian artists, but were derived from the potters of the east, probably from the Moors of Sicily, of Spain, or of Majorca. Hence (we once more repeat) the name “Majolica” was originally applied only to wares having the lustre enrichment; but since the decline of the manufacture, the term has been more generally given: all varieties of Italian enamelled pottery being usually, though wrongly, known as “Maiolica.” [Illustration]