If they were his unassisted work, he deserves as high a place among the modelers of his period as he is acknowledged to have among artistic potters. "Maestro Giorgio's manner of decoration consists of foliated scrolls and other ornaments terminating in dolphins, eagles, and human heads, trophies, masks, etc.; in the drawing of which he exhibited considerable power, with great facility of invention. These 'grotesche' differ materially from those of Urbino and Faenza, approaching more to the style of some of the Castel-Durante designs. In the drawing of figures, and of the nude, Giorgio cannot be ranked as an artist of the first class. From 1519 his signature, greatly varied, occurs through succeeding years. It would be useless to repeat the many varieties, several of which will be seen in the large catalogue and among the marks on specimens in other collections. We believe that to whim or accident may be ascribed those changes that have tasked the ingenuity of connoisseurs to read as other names. His finer and more important pieces were generally signed in full, 'Maestro Giorgio da Ugubio,' with the year, and sometimes the day of the month." It may be said that the secret of this ruby-lustre was soon lost, and has not been fully recovered; although admirable pieces are now made in England. It is impossible to convey in any engraving the subtile beauty imparted by these lustres; it seems to me that this is by far the finest and most fascinating quality of the maiolicas. Of the work made at CASTEL-DURANTE but little need be said in addition to what has been written upon the general subject of Italian maiolica. This was a small town in the neighborhood of Urbino; which town since then has been dignified with the name of Urbania, after Pope Urban VIII. At Castel-Durante pottery was made long before it reached the name and fame of maiolica. Through a book left by a potter of the place, named Piccolpasso, it is perhaps better known than by the maiolica made there. This manuscript book, which he illustrated with pen-and-ink drawings, gives some account of the wares produced there. I believe the book is now the property of the Kensington Museum at London. There are some few signed examples of the maiolica of Castel-Durante in the collections of England and of the Continent. I know of none in the United States. Of a piece owned by Mrs. H. T. Hope, of England, Mr. Robinson says in his enthusiastic way, "In the design and execution of the painting, splendor of color, and perfection of enamel-glaze, this magnificent piece is a triumph of the art." The ware made here is said to be recognized by "a pale buff-colored paste, and great richness and purity of the glaze." Still none but an expert--a person who has made these productions a study--could distinguish them from those made at some other Italian factories.