D. A multitude of homeless casuals have been attributed to the workshops of Faenza, from technical characteristics and manner of decoration, while as many more of somewhat different complexion have been promiscuously charged upon Urbino. Our ignorance of the exact localities of their production from want of evidence leads to this doubtful generalization, and until the discovery of signed specimens by the same hands, or documental record, we must still in numerous cases rest content with our assumption. [Illustration] Many early pieces, modelled in high relief and in the round, are probably of this origin. The very fine tazza, represented in the woodcut, is a good example. They differ from parallel pieces ascribed to Caffaggiolo in a certain rigidity of modelling, the use of a shading and outline of a darker or more indigo-like blue, and a free application of yellow and orange pigments; a more gothic sentiment also prevails from the influence of the German school, and we find subjects copied or derived from the works of Dürer, Martin Schön, &c., more frequently upon the higher class of Faentine wares than on those of painters working at the more southern centres of the art. The contemporary pieces of Caffaggiolo are more Italian in sentiment, the blue pigment of greater brilliancy, a purple also used, and a thicker glaze of great richness and more _tendre_ effect. From an early period Faenza seems to have produced a large number of electuary pots and pharmacy bottles; a pair are in the hôtel Cluny, one bearing the name FAENZA, the other 1500. Many of these vases are decorated in the style known as _a quartiere_, being divided into compartments, painted in bright yellow, &c., on dark blue, with foliated and other ornament, and usually having a medallion with profile head or subject on one side, under which the name of the drug in gothic lettering is inscribed on a ribbon. A curious example is in the British museum; a large flask-shaped bottle of dark blue ground with yellow leafage and with twisted handles, upon the medallion of which is represented a bear clasping a column, with the inscription “_et sarrimo boni amici_,” allusive, in all probability, to the reconciliation of the rival houses of Orsini and Colonna in 1517.