In 1728, Giovanni Battista Antonibon established in the village of Nove, near Bassano, a manufactory of earthenware, and in 1732 he opened a shop in Venice for the sale of his wares. In 1741 the factory was still in a prosperous state, and carried on by his son, Pasqual Antonibon. In 1766 Pasqual took his son, Giovanni Battista Antonibon, into partnership, and in 1781 Sig. Parolini joined the concern, continuing the fabrication with great success until 1802, when they leased the premises to Giovanni Baroni, and the business was carried on under the name of _Fabbrica Baroni Nove_. It was prosperous for a short time, and some beautiful examples were produced. [Illustration: FIG. 26.--TUREEN AND COVER. _18th Century._] _Maiolica fina_ or fayence only is still continued to be made, the manufacture of porcelain, for which at one time the works were so famed, not having been revived. FLORENCE Of the early maiolica made here little is known, but fayence of the 18th century is occasionally met with, marked with the letter F or Fl. [Illustration: FIG. 27.--CUP AND SAUCER.] PADUA In a street which still retains the name of _Boccaleri_ (makers of vases) were discovered traces of ancient potters' kilns, and some triangular wall tiles, of blue and white maiolica alternately, of the end of the 15th or beginning of the 16th century. Among these was a plaque, 20 in. in diameter, of the Virgin and Child between two saints, surrounded by angels. The subject is taken from a cartoon by Nicolo Pizzolo, a painter of Padua and a pupil of Squarcione; on the summit of the throne is written NICOLETI, the name he usually adopted. The plaque is now preserved in the Museum of that city. [Illustration: FIG. 28.--PLATE. MYRRHA FLEEING FROM HER FATHER.] Fig. 28, a plate, painted on grey ground, is inscribed on the reverse with the name of the place and the date 1548. CASTELLI The manufactory of Castelli, a small town in the Abruzzi, north of the city of Naples, was still flourishing towards the end of the 17th century. Francesco Saverio Grue, a man of letters and science, became about this time director of this Neapolitan maiolica _fabrique_. The ware was boldly ornamented with subjects, correctly designed and well painted; sometimes the landscapes were delicately heightened with gold. His sons and brothers continued to add lustre to his name for nearly a century. Francesco Antonio Grue's works, which have dates, range from 1677 to 1722, the subjects being principally scriptural and mythological. Luigi Grue, about 1720-1740, painted landscapes and figures. Ioanes Grue or Grua painted scriptural subjects from about 1730 to 1750. Saverio Grue was the re-inventor of gilding on fayence; some of his pieces are dated 1749 and 1753. His earliest paintings are without gold, consisting of classical subjects and mottoes on plaques. C. A. Grue was a painter about the same time. [Illustration: FIG. 29.--BOWL AND COVER. _18th Century._]