We question whether the Etruscans used fire at all in their soldering, as it would be almost an impossibility to keep the excessively fine tools necessary for the work at a proper heat. Mr. Joshua Rose offers the plausible suggestion that a cold flux was employed, with which the workman followed the lines or dots of his pattern. Then the gold granules were possibly sprinkled over the surface, and adhered only to the solder, the superfluous grains being brushed off after the solder had set. There is also a fragment of a finely woven fabric, made of threads of pure gold, found on the body of a woman in a tomb at Metapontum. This is without doubt the material to which the Psalmist refers in speaking of "the King's daughter" having "clothing of wrought gold;" and in the Pentateuch there is reference to gold threads being used upon looms. As we follow the various objects in the twenty cases above mentioned, the decline of the goldworker's art when the use of enamels came into vogue is evidenced. Continuing on to later periods, the decadence is more marked under the successors of Alexander. In Rome, under the emperors, we find gold used as a mere setting for precious stones, and finally the collection terminates with examples of workmanship of the time of Charlemagne, when the workmen had lost their cunning, and the noble metal had been altogether debased to secondary uses. The second instance where a lost art is exemplified in Signor Castellani's collection is in the glazing of the Gubbio majolica. We have not space here to review the magnificent series of ancient specimens of pottery in detail; and thus it will suffice to say that, beginning with some of the earliest pieces made by the Arabs when they occupied Sicily, from the twelfth to the sixteenth century, the collection presents examples of all the finest types of later mediaeval art. Gubbio, where the peculiar kind of majolica above noted was made, is a small town once in the territory of the dukes of Urbino; and in the sixteenth century it became famous for its pottery. This was attributable to the talent of one man, Giorgio Andreoli, who is reputed to have invented the wonderful luster characteristic of the Gubbio ware. The body of majolica is mere common clay; and after the piece is finished on the wheel, it is dried and burnt in a furnace. After the biscuit thus prepared has been dipped in the glaze, the colors are applied on the soft surface of the latter, and the vitrifying process fuses all into a glossy enamel of the color of the pigment. This is still the common practice; and we mention it merely to show that to his pigment and glaze Andreoli must have added some third substance, which rendered the enamel capable of reflecting white light as blue, red, green, or yellow light--in other words, of giving the object a luster of a color wholly different from the tints of the pigment. He evidently could produce any desired color at will, and the