Under division F. will be found works of this kind, among which the more interesting at South Kensington are no. 8886, a fine portrait plate; 4726 having the painter’s date and mark, and that of him who lustred it; the very remarkable plaque 520, the work of Orazio Fontana, with the monogram of Giorgio; and the small plate 8907, dated in lustre colour as late as 1549. The last division G. contains works ascribed to him, and examples of the decadence of the lustred wares. Before closing our observations on the splendid products of this abundant pottery, we will refer to several marks which occur on pieces in all probability made and painted there but some of which we are unable to explain. A plate with bust portrait of a warrior, in the collection of M. Meurnier, of Paris, having four coats of arms on the border and the letters Y. A. E., is inscribed on the face with the name “Gabriel. da. Gubbio.” This doubtless is a portrait plate, and the letters may allude to the families or individuals whose arms are blazoned. “Gualdo” is said to be inscribed on a brilliantly lustred specimen which we have failed to trace, and pieces in the Louvre have been doubtingly classed under that name by M. Darcel. A man’s head, rudely sketched in lustre colours, occurs on the back of a plate in the British museum, more probably an artist’s whim than an intentional mark. The letters MR combined occur on a lustred piece, perhaps a monogram of M. Prestino. The letter P, variously formed, may also probably be his initial. About 1560-70 the use of the lustre pigments would seem to have been almost discontinued; the secret of their proper composition and manipulation was lost during the general decline of Italian artistic pottery, and the death of Guid’ Ubaldo II. in 1574 was the “coup-de-grâce” to the already much deteriorated wares of the duchy. Those beautiful colours, known to the Italians as “rubino,” “cangiante,” “madreperla,” “a reverbero,” and to the French as “reflet métallique,” “nacré,” &c. have been to a certain extent reproduced. Unfortunately many pieces made in the manufactory at Doccia have, after chipping and scratching, been palmed upon unwary amateurs as ancient specimens by unprincipled dealers at Florence and elsewhere. Some of these modern examples are in the ceramic gallery at South Kensington. The most successful reproduction of the famous lustre has however been made at Gubbio itself by an able young chemist and artist, Luigi Carocci. Some of his productions are excellent, though far from having those artistic qualities so apparent in the finer specimens of maestro Giorgio’s work.