FORCELAIN AND FAIENCE. 
G3 
the specimens ai'e no doubt as good, or better, than the old. 
They attracted rauch attention and command a high price. 
As examples of skill in sculpture 01* modelling, they are cei- 
tainly not remarkable. They do not bear comparison with 
the exquisite relief figures of Wedgwood’s establishraent. 
They lack sharpness and distinctn<*ss of outline, and have a 
half-fired look, partially blended as they are with the back- 
ground, evidently forming a part of the body of the wäre, all 
beins raoulded in one piece and of the sarae mateiial. Con- 
siderable attention has also bcen given at this establishraent to 
the imitation of the celebrated productions of Urbino, Castel 
Durante, and of Gubbio. 
The productions have been conspicuous at most of the 
great exhibitions, and have received many medals, notably at 
Paris in 1855, London in 1862, Paris in 1867. The proprie- 
tor was also honored in 1867 by appointraent to raerabership 
of the Legion of Houor of France. 
Torquato Castellani, Home. This exhibitor appears to 
devote bis energies to the reproduction of 
choice examples of old Italian majolica and 
decorated pottery, chiefly bottles and urns. 
One of these, with massive twisted handles, 
is represented in outline. It was about 12 
inches by 15 inches high, and was purchased 
by the St, Petersburg Museum for £7 15s. 
Monaco. In the small building outside the Industry Pal 
ace, set apart for the products ot this State, theie weie 
many specimens of decorated faience, in the old Dresden 
style. They were chiefly vases and baskets covered with 
colored flowers in relief. 
Incised or Sgraffiato Ware. This name is applied to 
a speeies of decoration practised in Italy by the potters of 
the Renaissance period, or towards the beginning of the 
fifteenth Century. It is also known as Perugia wäre, hav- 
ing originated in the province of Perugia. The design is 
scratched out of a thin layer of light colored clay over a 
darker body beneath. The object is then glazed, and colors