ROMAN PERIOD.)

FIG. 60.--AMPHORA OF APULIAN STYLE, WITH SCENE FROM EURIPIDES'
"HECUBA."]

[Illustration: PLATE III

FIG. 61.--MOULD FOR ARRETINE BOWL.

FIG. 62.--JAR OF ARRETINE WARE FROM CAPUA.

FIG. 63.--EARLY ETRUSCAN JAR. (VILLANOVA PERIOD.)

FIG. 64.--STAMP FOR ORNAMENTING ARRETINE VASE.

FIG. 65.--ETRUSCAN "CANOPIC" JAR PLACED IN BRONZE CHAIR.]

[Illustration: PLATE IV

FIG. 66.--MOULD FOR BOWL OF GERMAN WARE. (2ND CENT. AFTER CHRIST.)

FIG. 67.--MEDALLION FROM VASE MADE IN S. FRANCE, WITH SCENE FROM
TRAGEDY. (3RD CENT. AFTER CHRIST.)

FIG. 68.--JAR OF RHENISH WARE WITH INSCRIPTION. (3RD CENT. AFTER
CHRIST.)

FIG. 69.--BOWL OF GAULISH (LEZOUX) WARE WITH FIGURES IN "FREE" STYLE.
(2ND CENT. AFTER CHRIST.)

FIG. 70.--JAR OF LATER LEZOUX WARE. (3RD CENT. AFTER CHRIST.)]

4. _Lustred Majolica_--This brilliant species of Italian pottery (to
which alone Piccolpasso applied the name majolica) seems to have been
mainly produced at Deruta and Gubbio, though experiments were made at
Cafaggiolo and probably at Faenza and Siena. Considering how much the
Italian majolist owed to the Spanish-Moorish potter, it is remarkable
that this beautiful method of decoration should have made so tardy an
appearance, for the earliest specimens do not appear to be much earlier
than the end of the 15th century, and the process was apparently
abandoned by the middle of the 16th. The lustre wares of Deruta,
probably the earliest made in Italy, have strongly-marked affinities
with their Spanish prototypes; the earlier examples are hardly to be
distinguished from Spanish wares, and to the last the ware remained
technically like the earlier ware, though with perfectly Italian
decorative treatment. Yet the best examples of Deruta silver lustre have
a quality of tone that has never been surpassed; a colour resembling a
wash of very transparent umber bearing a delicate nacreous film of the
most tender iridescence. The Gubbio lustre is best known to us through
the works of Maestro Giorgio, whose distinctive lustre is a magnificent
ruby-red unlike any other. In all probability the lustre process was so
quickly abandoned on the fine painted majolica, because the increasing
efforts to make a "picture" were discounted by so uncertain a process.
When one of the later majolica painters had spent weeks on the
decoration of some vase or dish, with an elaborate composition of
carefully drawn figures, it was not l