It is by recognising the distinction we have just laid down between these two processes, that the productions of Italian ceramic art are ordinarily classified: the _demi-majolica_, with transparent glaze, somewhat like the Spanish-Arabian pottery, and also, perhaps, like Asiatic tiles; then the _majolica_, by which we understand fine earthenware, where the clay is covered with a coating of opaque varnish, distinguishing the invention due to Luca della Robbia. Having given priority of invention to Luca della Robbia, it is as well, nevertheless, here to state, that from the eleventh and twelfth centuries there existed in France a kind of ceramic art employed especially in the manufacture of varnished pottery-tiles. Many, of baked clay, have been found with drawings and designs in black or brown on a white or yellow ground (Plate IV.). At a later period these tiles, of which we see such brilliant specimens in the small pictures in manuscripts, especially in those [Illustration: PAVING TILES OF THE FOURTEENTH AND FIFTEENTH CENTURIES.] of the fourteenth and fifteenth centuries, were embellished with designs, emblems, armorial bearings, and scrolls. As already stated, in the passage from the author whom we have taken as our guide, the impulse which Luca della Robbia gave to ceramic art extended itself with rapidity in every direction; and if any other reason were wanting, beyond the intrinsic value of this art, to account for its development, we should say that the circumstances in the midst of which Luca made his discovery were eminently favourable to its advancement. Luxurious display was, at that time, prominent among the classes who aspired to ostentation. When writing of furniture, we saw to what a pitch of splendid profusion kings, princes, and nobles carried the mania for displaying their wealth. We particularly pointed out sideboards in the dining-rooms, covered with plate and all kinds of objects, which were only placed there to dazzle the eyes. The custom of these displays having been introduced, it could nevertheless be only indulged in by those in possession of considerable fortunes, and therefore it will be readily understood how quickly fashion affected the productions of ceramic art; which, in addition to being recognised as works of art, were singularly well suited, both in character and by their comparative cheapness, to the spirit of ostentation which had taken possession of people of inferior rank. It was sufficient that some piece of majolica should have found a place on the sideboard of a prince amidst the gold and the silver which hitherto had alone enjoyed this privilege, for the lower ranks of the _bourgeoisie_ and the _tiers-état_ to adopt the fashion, in their dining-rooms, of decorating them either with majolica alone, or associated with plate.