[85] The lost jar mentioned by Owen Jones, of which a drawing has been made, was of the same shape as the one which now remains; but in its decoration were included the arms of the Nasrite dynasty of Granada. It is this circumstance which has induced Gómez Moreno to suppose that these vases were the work of Granadino artists. [86] "_Los nichos para chinelas_," as he calls them, in describing the Sala de Comares. Until quite recently all published illustrations of the great _jarrón de la Alhambra_ were inaccurate, and as a rule grotesquely so. Among the very worst are those inserted in the handbooks of Riaño and Contreras. I am glad to be able to reproduce an excellent photograph, which both corrects the atrocious cuts I have observed elsewhere, and relieves me from giving a prolix and possibly a wearisome description of the decoration on the vase. [Illustration: LX HISPANO-MORESQUE LUSTRED VASE (_Madrid Museum_)] Several other lustred vases of large size are still preserved in Spain and other countries. One, proceeding from a Sicilian church, is in the museum of Palermo. Wallis, who inserts an illustration, describes it as "amphora-shaped, with two large flat handles; pear-shaped body, long neck, ribbed at lower part, canellated above, moulded lip. Whitish body, tin glaze. Ornament painted in gold lustre on white ground, the pattern in parts almost obliterated. Hispano-Moresque. Height, one metre, seventeen centimetres." Another of these great vases belonged to the painter Fortuny, and was sold at his death to Prince Basilewsky, for thirty thousand francs. It was found by Fortuny at the village of Salar, near Granada, and purchased by him at a low price. "The neck and mouth resemble those of the Alhambra vase. The ornamentation is distributed about the body of the vase in four zones; one of the two central zones has tangent circles, and the other an inscription." [Illustration: LXI LUSTRED TILES (_Osma Collection_)]