It would seem that this fabrique continued to flourish when those of Urbino and Pesaro had comparatively decayed; this may partly have been owing to the encouragement given by the duke Francesco Maria II. (1574 to 1631), who frequently resided at Castel Durante and took some interest in the manufacture. It however only produced at this period works of more general utility, artistic and ornamental pieces being the exception. [Illustration] The wares of Castel Durante are generally to be recognised by a pale buff coloured paste, and great richness and purity of the glaze. The plates (of which we give three woodcuts, from examples at South Kensington, nos. 8947, 8960, and 413) are rarely decorated at the back, but like those of Urbino and Pesaro are generally edged with yellow on the subject pieces, and with grey white on those having grotesques, which are in low olive tint on a blue ground. The colours are sometimes rather pale but harmonious and the carnations are of an olive tint, thought by some a distinguishing mark of the fabrique; while the absence of the ochreous red pigment so noticeable on the Urbino and Pesaro “istoriati” pieces is remarkable. In the draperies painted upon these wares blue and ochreous yellow predominate. Broadly treated grotesques and trophies of arms, musical instruments, books, &c. frequently painted in _camaïeu_ of greenish grey on a blue ground, are favourite subjects of ornament; these also [Illustration] occur painted in rich colours, among which a deep clear brown [Illustration] may be noted, and surrounding medallions having portrait or fanciful heads on a yellow ground. Subject pieces do not appear to have been so abundantly painted at Castel Durante as at the neighbouring fabriques, and such pieces to which the lustre enrichment has been added are still less frequent. [Illustration] Many of the tazze the whole surfaces of which are covered with a portrait head may probably be assigned to this place, where there would appear to have been one or two artists who made almost a specialty of this style of decoration. The South Kensington museum is rich in these portrait plates; among them is a remarkable example on which a likeness of Pietro Perugino in full face is portrayed (p. 135) and which we are disposed to assign to this fabrique, but always with some hesitation. Another class of pieces which we believe to have been for the most part made at Castel Durante is that ornamented with oak branches painted yellow on a blue ground, and sometimes in relief, surrounding a small medallion central portrait or imaginary head.