Another piece by this youthful phenomenon is in the collection of monsignore Cajani at Rome, representing the expulsion from paradise. It is a most inferior production and not meritorious even for so young an artist. With the exception of some large dishes and a few others the wares of Urbino, as a rule, are not ornamented on the reverse. The more usual pieces are edged with a yellow line which is repeated round the foot or central hollow, in the middle of which the titular inscription or date is written in manganese black, dark olive, or blue colour. The paste is sometimes of a pink hue, produced by the colour of the clay shining through the glaze, but in other cases of a purer white. In the “sopra bianco” grotesques the ground is rendered unusually white by an additional surface of _terra di Vicenza_ or _bianco di Ferrara_; the glaze is of fine quality and even surface. It may be here noticed that the wares known of the Lanfranco fabrique at Pesaro have similar characteristics, and it is not possible to distinguish between them. That wares of a better class were occasionally produced at Urbino during the last century is proved by a lamp in the South Kensington collection, no. 6856; made, as the inscription tells us, at the _Fabrica di Majolica fina_, which seems to have been established or conducted in that city in 1773 by a French artist named Rolet. We hear of him previously at Borgo San Sepolcro in 1771, but all further record of his productions or his success is unknown. We are not aware that Urbino at present produces any artistic pottery. CHAPTER XIV. BORGO SAN-SEPOLCRO, DIRUTA, &C. There is an example of the BORGO SAN-SEPOLCRO ware at South Kensington, a lamp, formed of faience of a bluish white shade, painted with garlands of flowers, &c. in colour, on which is written under the foot, “Citta Borgo S. Sepolcro a 6 Febraio 1771. Mart. Roletus fecit.” At SAN QUIRICO cardinal Chigi established a work about 1714, inspired with the idea of reviving the art of painting on faience. It was directed by Piezzentili, a painter who had given some study to the celebrated vases by Orazio Fontana. On his death Bartolomeo Terchi, Feschi, or Ferchi, seems to have worked at or directed the establishment, for in the Louvre is a plaque representing Moses striking the rock, and signed “_Bar Terchi Romano in S. Quirico_.” We shall meet with this wandering artist also at Bassano. With other members of his family he seems to have worked at various potteries throughout Italy, and examples occur on which his or their signatures appear, accompanied only by the patronymic “_Romano_,” and which are of course difficult to assign to any one of the fabriques at which we know them to have worked. Ferdinando Maria Campani before going to Siena worked also at this fabrique; its productions were not sold, but given as presents by the cardinal.