8, 9. Florence, and evidently nuptial presents: _Per fin che vivo, io sempre t'amerò_, "While I live, you I love"; the other, a bridegroom and bride exchanging a hearty kiss. Most of these portrait-plates were deep, and are said not to have been delivered empty. Brides received them brimming with jewels; for dancing partners they were filled with fruits and confections; to a lady in childbed was presented a salver containing the sort of chamber service called in French a _déjeûner de marié_, appropriately decorated with infant legends of gods and heroes; at children's balls, were given tiny plates of sugar-plums, whereon a dancing Cupid sounding his cymbal was often painted. 10. Massa collection,--this has a sadder import: _Un bel morire tutta la vita onora_, "A beautiful death confers illustration on a lifetime," was, no doubt, in memory of some venerated friend, and might have been used to serve her funeral meats.[248] [Footnote 248: In order to finish our notice of mottoes, a few others may be here added. 11. Massa collection; a female portrait, on whose breast are the arms of Montefeltro: _Viva, Viva il Duca di Urbino_. 12. Rome, Kestner Museum; another female portrait: _Ibit ad geminos lucida fama pollo_ (?). 13. Kestner Museum and that at the Hague; St. Thomas probing the Saviour's wound: _Beati qui non viderunt et crediderunt_, "Blessed are they that have not seen, and yet have believed." 14. Spoleto, Tordelli collection; a beautiful female resisting a crowd of armed soldiery: 1540. _Italia mesta sottosopra volta, como pei venti in mare le torbid'onde, ch'or da una parte et hor da l'altra volta._ "1540. Dejected Italy, tossed like the wind-lashed waves, turning now hither now thither." 15. Rome,--satire on the sack of Rome; a warrior in antique armour strikes with a two-handed sword at a naked woman stretched in a lascivious posture, behind whom five others tremblingly await their fate: it is inscribed behind, 1534. _Roma lasciva dal buon Carlo quinto partita a mezza. Fra Xanto a. da Rovigo, Urbino._ "Rome, the wanton, cut up by the good Charles V.; by Brother Xante of Rovigo, at Urbino." This plate, glowing with iridescence, contradicts Passeri's opinion (already quoted) that stanniferous glaze was never practised in the Urbino workshops, as does the tile introduced three pages below. 16. Rome; a grandly draped female, sitting in desolation over a dead child: _Fiorenzo mesta i morti figlii piange_, "Disconsolate Florence weeps for her lifeless offspring," in the plague visitation of 1538. Though with the most brilliant ruby and gold lustre I ever saw, it has in blue the cipher X, probably also of Xante in Urbino.]