ware was made by Saxon workmen with clay obtained from Saxony. To this factory, however, we can safely attribute the tall cup and saucer, with the arms of Benedict XIII. (1724-30), and the mark ‘Ven^a’ (PL. D. 63), in the Franks collection (No. 446). At this time Hunger, the Saxon painter and gilder, was in Venice. He was already back at Meissen in 1725, and Dr. Brinckmann thinks that he may have brought back from Venice the process of passing the gilding through the muffle, which about that time replaced, at Meissen, the older plan of ‘lac-gilding.’ The Vezzi works were closed in 1740, and not till 1758 do we hear of fresh attempts to imitate the Meissen ware. This time it was a Saxon family driven out from Meissen by the war, one Hewelcke and his wife, who set up a short-lived factory in which they attempted to make porcelain ‘_ad uso di Sassonia_.’ It was probably with the assistance of Hewelcke that Geminiano Cozzi in 1764 established the porcelain works where (as we learn from the report drawn up by the _Inquisitor alle Arti_ a few years later) he gave employment to forty-five workmen. Cozzi made porcelain ‘_ad uso di Giappone_,’ much of which was exported to Trieste and the Levant.[200] This ware, decorated in Oriental style, must have been made exclusively for the trade with the East, for, to judge from the specimens in our museums, it was rather the ware of Meissen than that of Imari that Cozzi took as his model. We find on his porcelain small views, especially coast-scenes and ports, outlined in black and gold; again, on tea-and coffee-services, flower-pieces and _chinoiseries_. He turned out also some biscuit and glazed statuettes of considerable merit. Cozzi’s factory survived until 1812. An anchor in red, larger than that used at Chelsea, and of a different shape, is the mark usually found on this china[201] (PL. D. 64). LE NOVE.--A Venetian family, the Antonibon, had early in the eighteenth century established an important manufactory of majolica at Le Nove, near Bassano. Later on they turned their attention to porcelain and, after the year 1760, Pasquale Antonibon produced some successful ware marked with a star (PL. D. 65). One or two well modelled and carefully finished specimens of this porcelain at South Kensington show the influence of both Meissen and Sèvres. These works were in operation as late as 1825.