With Ferrara, Deruta, and Naples we may conclude our enumeration. Ferrara was an offshoot of Faenza, whence we find Fra Melchiorre coming in 1495, Biagio in 1501, Antonio in 1522, and Catto in 1528. The artist Camillo who painted vases, the Dossi brothers who designed, “El Frate,” Grosso, and Zaffarino are among those who gave Ferrara its reputation. It is probably to the Dossis that the grotesques on a white ground are to be attributed. Deruta takes us back to Robbia, whose pupil, Agostino di Antonio di Duccio, went to Perugia in 1461, and thence certainly influenced the Deruta school. With such teaching Deruta produced, early in the sixteenth century, majolica of a very high order of merit, with blue grounds and yellow lustred cherubs’ heads in relief, and arabesques. Within such borders are white enamelled inner circles, with scrolls mingled with birds and chimeras, surrounding a raised centre of deep blue bearing a bust or head. Several pieces subsequent to 1544 are signed “El Frate,” and are, as a whole, weak and unpleasing, although some others are strong and beautiful. As a rule, the artists of Deruta appear to have been the direct opposites of those of early Faenza, _i. e._, they expend their resources upon their principal figures, and make the details entirely secondary. The earliest Deruta vases are conical, and decorated in lustre and white enamel with blue. Naples and Castelli are both surrounded with more or less mystery, although evidence is not wanting that the latter at least produced excellent majolica. With the end of the sixteenth century appear some large vases of Naples, painted in dark colors with religious subjects. [Illustration: Fig. 222.--Deruta Dish. (South Kensington Museum.)] The shapes which engaged so much of our attention in Greece, are in Italy too manifold and varied for classification. We are in presence of an entirely new order of things, when we find artists expending their best efforts upon decoration with enamels, lustres, arabesques, grotesques, and wonderful scrolls turning in their sweeping folds round all manner of impossible monsters, of a plain, broad-bordered dish, with no pretension to form. When the Italian artists concede something to shape, they frequently become wilful, embellishing a vase reminding us of Greece with serpent handles, or running off into elaborate inkstands or quaint table wares. In the Italy of the Renaissance we are in the presence of the triumph of decoration, and it is upon decoration that we, in common with all inquirers, must concentrate attention, thankful if at times we detect a harmony between the gracefulness of a vase and the beauty of its brilliant colors.