to be ascribed to Florence. However this may be, the existence of Venetian specimens with decoration suggestive of seventeenth century styles, would indicate that the industry was at least kept alive, and that there were several predecessors to the manufactory founded by Francesco Vezzi early in the eighteenth century. Some very beautiful works are attributed to the Casa Vezzi. In or about 1765 another manufactory was established by Geminiano Cozzi, and from it were turned out table-sets, groups, statuettes, and vases. The establishment at Le Nove, founded in 1752 by Pasquale Antonibon, produced majolica, terraglia--a mixed composition of pottery and porcelain--and artificial porcelain. Of the latter (Fig. 225) some magnificent examples have been preserved. [Illustration: Fig. 225.--Nove Porcelain Vase.] The most famous Italian porcelain is that of Capo di Monte. This manufactory was founded in 1736 by Charles III., whom we have already seen introducing the art into Madrid, after he left Naples to mount the throne of Spain. The founder does not appear to have been indebted to any extent whatever to the discoveries made at Meissen, but to have set on foot a perfectly independent and national industry. The king frequently worked in the factory, and under his guidance and the favor of his consort, Queen Amelia of Saxony, its products rapidly improved after the first essays, which closely followed the Japanese. The Capo di Monte forms assume a distinctive character. Her artists turned to the sea, as became citizens of the Queen of the Sea, and there found inspiration. They took the shells of the Mediterranean for their models, and by combining them with coral and sea-plants, and coloring all after nature, produced some of their most beautiful works. A very handsome ewer is thus composed, the body representing an ingenious combination of shells set in a foot of coral, a branch of which climbs up the side, and, arching to the lip, forms the handle. A basin is similarly designed, and is dotted with smaller shells. Or again, a salt-cellar is modelled after a boat steered by a youth. These examples will suffice to show that not the least merit of the artists of Capo di Monte is their originality. The table services present us with some of the finest porcelain made in Europe. The paste is fine and transparent, and many of the pieces are as thin and light as the egg-shell of China. When Charles III. set out for Spain, he took a number of the artists with him, and left to his successor in Naples the work of maintaining the industry. In this Ferdinand was not successful, and Capo di Monte rapidly sank, and disappeared altogether in 1821. The porcelain made at all the places named was artificial. The only Italian manufactory of natural porcelain was that of Vineuf, near Turin, which began to work toward the end of last century. The body contains magnesia. The workshop was founded by Dr. Gioanetti.