The masterpieces in wax-work will next demand our attention; and here Italy, which in almost every other art has the right to pass first, may perhaps be asked to give precedence to Spain. The Spanish-Moorish specimens are above all admirable. As for the Italian works, they are very numerous, and for the most part well chosen. Apart from the medallions of Lucca della Robbia, which belong to sculpture as much as to waxwork, the plates suspended on the walls, the cups enclosed beneath the glass, are all interesting, and are nearly all of Italian make. A product from the workshops of Faenza, which, in France, gives its name to crockery in general (_faience_), adorned with the monogram of Christ in Gothic characters, bears the date of 1475. The work is quite archaic; but Faenza can also show plates and cups which tell of the progress and also of the decadence of this centre of a special art, so active in the sixteenth century. Urbino, the birthplace of Raphael, and Pesaro, the birthplace of Rossini, are also represented, together with Rimini, Caffagiolo, Castel-Durante, and, above all, Gubbio, with the masterpieces of its illustrious potter, Giorgio Andreoli. The word seems appropriate when one contemplates the fine plate representing Dædalus, dated 1533, and the two cups relieved with gold, on which smile, from a rainbow-tinted background, two charming women: “Angela Bella,” “Dianara Bella.” These cups, which now form the admiration of artists, served formerly to receive the presents made by the lover to his mistress. Superb types of the Gubbio work in the sixteenth century are as bright and pure as if they had come yesterday from the hands of the potter. French pottery is also conspicuous at the Hôtel Cluny, both in its ancient and in its modern glory. Specimens of enamelled terracotta, dating from the thirteenth century, are first to be seen. Then one remarks a cup decorated with arabesques encrusted in brown on a whitish ground. These famous styles of pottery used to be vaguely connected with the name and period of Henry II.; but they are at present known to have been made at Oiron, in Poitou, by François Cherpentier, the humble workman of Madame de Boisy.