The discovery within the last few years of a fine work, signed with the artist’s monogram, the date 1527, and the place at which [Illustration] it was painted, is all we know of the existence of a botega at FABRIANO. There can be little doubt that many such local and individual furnaces existed during the sixteenth century under the direction of ceramic artists, in many instances an emigrant from one of the more important centres, and encouraged to set up for himself at another city by the patronage of the leading families. This plate, which has for subject the “Madonna della Scala” after Marc Antonio’s engraving from Raffaelle, is cleverly painted, and on the reverse is the inscription of which we have given a facsimile. It was exhibited by M. Spitzer, of Paris, at the “Exposition Universelle,” was purchased from him by signor Alffº. Castellani, and subsequently sold at Christie’s for £114. Another example by the same hand, and with the same subject but without signature, was sold at the same sale. In the museum of Economic geology is a plate of the same botega, having for subject the rape of Proserpine surrounding a cupid centre. It is painted in _grisaille_, the sky warmed with touches of yellow, and ably executed. This fabrique not being then known it was ascribed to Urbino, but the monogram on the reverse, exactly corresponding with that on the signed Fabriano piece, proves it to be of the same origin. We also give this mark in fac-simile. [Illustration] The pottery of VITERBO is not recorded by any writer, but an inferior work at South Kensington is inscribed with the name of the city and with that of Diomeo, who was perhaps the painter of the piece in 1544. It is a rough piece, rudely coloured and ill-drawn, but interesting from the name of place and the date. We give an engraving of a portion of the border, the hand of a youth holding a scroll. Two other examples are with some doubt referred to the same locality. [Illustration]