The existence of this plate is now discredited; at least, no trace of it can be discovered at this day. Upon the other hand, Gestoso points to various objects manufactured by the _cuerda seca_ method, and which undoubtedly proceed from Seville. Among them are three shields, one of which, containing the arms of Ferdinand and Isabella, is of exceptional interest, for it is accompanied by an inscribed slab, evidently coeval with the shield itself, recording it to have been made in the year 1503, and by Jerónimo Suarez. This shield and slab were removed from a courtyard of the old Alhóndiga to Seville Museum, where they now remain. Of the two other shields, one belongs to Señor Osma, and the second, which is still at Seville, adorns the tomb of Don León Enriquez in the church of Santa Paula; and since it is unquestionable that all these _cuerda seca_ shields, as well as quantities of _cuerda seca_ tiles, were made at Seville, Gestoso prudently suggests that we should designate as "_cuerda seca_ ware" that pottery which has hitherto passed as specially belonging to Puente del Arzobispo. In fact, towards the end of the fifteenth century this pottery is found extending northward from Seville to Toledo, and Señor Osma assures me that Toledo specimens are of a somewhat later manufacture than those which were produced at Seville. One of the rarest and most interesting _cuerda seca_ plates in this gentleman's collection is reproduced herewith (lxviii.). No other plate of similar pattern is known to exist. Its date may be placed between 1480 and 1495, and it gives a curious illustration of the masculine headdress and headwear in the reign of Ferdinand and Isabella. The pottery of Talavera de la Reina was at one time much esteemed. The earliest mention of it, says Riaño, occurs in 1560, in a manuscript history of this town, while another notice, dated 1576, says that here was produced "fine white glazed earthenware and other pottery, which supplied the country, part of Portugal, and India." More explicit are the observations of Father Alonso de Ajofrín, who wrote, in 1651, a history of Talavera. He says that "her pottery is as good as that of Pisa, while quantities of _azulejos_ are made here to adorn the front of altars, churches, gardens, alcoves, saloons, and bowers, and large and small specimens of every kind. Two hundred workmen work at eight separate kilns. Four other kilns produce the commoner kinds of ware. Red porous clay vessels and drinking-cups are baked in two other kilns in a thousand shapes to imitate birds and other creatures; also _brinquiños_ for the use of ladies, so deliciously flavoured that after drinking the water they contained, they eat the cup in which it was brought them." [Illustration: LXVIII DISH (_Andalusian non-lustred ware in the_ Cuerda seca _style. A.D. 1480-1495. Osma Collection_)]