Passeri's assertion, that the Gubbian glaze was borrowed from the half-majolica of Pesaro, may be correct; but we might, perhaps, maintain for it a date as early as 1474, on the authority of a beautiful small plate possessing its peculiarities, and exhibiting Duke Federigo's name and profile in relief, within a coloured border of oak-leaves also in relief, made, possibly, on occasion of his alliance with the della Rovere, by marriage of the Lord Prefect with his daughter in that year. This interesting memorial is No. 2286 of the Mediæval Gallery at the Louvre. In Mr. Marryat's choice cabinet is a half-ware plate, bearing on the back a monogram, which that gentleman supposes of Maestro Giorgio's early period, before he had discovered the mode of obtaining iridescent varnishes. It displays a group of nude figures in pale greyish tints, without any approach to brilliant colouring. His usual signature was dashed off with a metalliferous brush on the back, _Mo. Go. da Vgubio_, with the date, as at No. 11 of the same facsimiles, from a plate in my possession. Such pieces are rare, and highly prized; their subjects are usually saints, classical groups, or grotesques, vases being very seldom met with. A branch of this fabric is said to have been seated at Nocera; and several, with bright red and blue tracery on a gold metallic ground, dated 1537-8, in the choice cabinet of Signor Serafino Tordelli at Spoleto [1845], are supposed by him of that fabric. Among other exquisite specimens, he has one by Maestro Giorgio, 1529, rivalling the finest miniature, and representing Archimedes measuring a globe, in front of the Communal Palace at Gubbio. * * * * *