Maestro Giorgio was an artist by profession, not only as a draughtsman but as a modeller, and being familiar with the enamelled terra cottas of Luca della Robbia is said to have executed with his own hands and in their manner large altar-pieces. We were once disposed to think that great confusion existed in respect to these altar-pieces in rilievo, and were inclined to the belief that although some of the smaller lustred works may have been modelled by Giorgio the larger altar-pieces were really only imported by him. Judging from the most important which we have been able to examine, the “Madonna del Rosario” portions of which are in the museum at Frankfort-on-the-Maine, it seemed to approach more nearly to the work of some member of the Della Robbia family. This fine work is in part glazed, and in part coloured in distemper on the unglazed terra cotta, in which respect it precisely agrees with works known to have been executed by Andrea della Robbia assisted by his sons. There are no signs of the application of the lustre colours to any portion of the work, but this might be accounted for by the great risk of failure in the firing, particularly to pieces of such large size and in high relief. Be this as it may, from a further consideration of the style of this work and the record of others, some of which are heightened with the lustre colours, and the fact stated by the marchese Brancaleoni that a receipt for an altar-piece is still preserved in the archives of Gubbio, we are inclined to think that history must be correct in attributing these important works in ceramic sculpture to Mº Giorgio Andreoli. If they were his unassisted work, he deserves as high a place among the modellers of his period as he is acknowledged to have among artistic potters. To go back twelve years in the history of the products of this fabrique, we have in the South Kensington museum a very interesting example of a work in rilievo, no. 2601, a figure of S. Sebastian, lustred with the gold and ruby pigments, and dated 1501. Notwithstanding its inferiority of modelling when compared with later works, we are in little doubt that this is by Mº Giorgio’s own hand, agreeing as it does in the manner of its painted outline and shading with the treatment of subjects on the earlier dishes, believed to be by him. We must also bear in mind that an interval of twelve years had elapsed between this comparatively crude work, and that beautiful altar-piece whose [Illustration] excellence causes us some doubt in ascribing it to his unaided hand; and we may observe at the same time an equal difference in the merit of his own painted pieces. The small bowl here engraved is of about this period, and is characteristic of a style of ornament commonly found upon Gubbio ware. This is now at [Illustration] South Kensington. We add also another piece, no. 8906; well worth the attention of a student, as exhibiting the full power [Illustration]