Like other branches of fine art, majolica-painting showed an early preference for sacred themes; but the primitive plates of Pesaro bear effigies of saints much more frequently than scripture histories, or doctrinal representations. Then came in a fashion for portraits of living or historical persons, including warriors, high-born dames, and classical heroes, inscribed with their names. These paintings are all flat and lifeless, with scarcely an attempt at relief, or graduated tints; the ornaments are rude, inclining to Moorish, and totally different from what is called arabesque. From the della Robbian influence were probably borrowed plates brimming with coloured fruits in relievo, a variety of little interest, but reminding us of similar French productions in a later period. In the sixteenth century, the mania of classicism, elsewhere discussed,[245] much affected majolica; and in its designs, although events of the Old Testament were not abandoned, saintly legends gave place to scenes from Ovid and Virgil. For behoof of the unlettered curious, the incident was shortly, often clumsily, described in blue letters on the back, with a reference to the text. In a few cases (perhaps of _amatorii_ or nuptial gifts), I have found the very finest productions degraded by grossly indecent designs; in more numerous ones groups of nude figures disport themselves in the manner of Giulio Romano. Those in which Raffaelesque arabesques prevail, belong chiefly to the latter portion of Guidobaldo's reign. From that time the fabric decayed rapidly, owing partly to a general decline of æsthetic taste, partly to the impaired state of that Duke's finances, and the indifference of his successor. Even after historical compositions were neglected, considerable dexterity was displayed in painting trophies, arms, musical instruments, utensils, marine monsters, children, grotesques, birds, trees, flowers, fruits, and landscapes, designs of that class being easily repeated and their inaccuracies passing for studied extravagance. But the drawing got worse, the colouring more feeble, as good artists dropped off, carrying with them their sketches, and superseded by engravings from Sadeler and other Flemings, whose vile taste contributed to lower the standard of better times.[246] Public favour, ever capricious, was successfully wooed by the oriental porcelain, which now found its way among the higher ranks, while the augmented supply of silver encouraged a more extended use of plate. Thus discredited, the manufacture progressively deteriorated, until, in 1722, the stoneware of Urbania was of the most ordinary description, the efforts of Cardinal Legate Stoppani to reinstate a better fabric having totally failed; and thus neglected, the most beautiful productions of its happier time were dispersed, or passed to the meanest uses, from which another whim of fashion, as much as the revival of a better taste, has suddenly rescued them. [Footnote 245: See vol. II.]