art-industry and made it yield the full results of independent art. Jean Penicaud II. is supposed to have been the son of Nardon, and nephew of Jean I. He is the author of a portrait of Luther, in the collection of Baron James de Rothschild, produced about 1531. His portrait of Pope Clement VII. in the Louvre is dated 1534. The fine tazza which once belonged to Horace Walpole, and which is described in Robins' catalogue of the Strawberry Hill sale as enamelled both inside and out with subjects portraying the History of Samson from the designs of Parmigiano,' is signed at full length 'Johannes Penicaudi, junior,' and dated 1539. The half-length figure of 'Hope' in the British Museum bears his initials only (J. P.), and the date 1541. A 'Crucifixion,' cited by M. Darcel, in his Notice des Émaux' (Musée du Moyen-âge et de la Renaissance), as in the possession of a M. Gatteaux, is dated 1542, and a set of plates representing the legend of St. Martial, mentioned by M. Maurice Ardant, are dated 1544. Four other plates of the same legend are also mentioned by M. Darcel, one of which, in the possession of Baron A. de Rothschild, is signed 'Johannes M. F. Penicaudius IV.' ('Johannes me fecit Penicaudius junior'). These are the only dates as yet discovered on the works of Penicaud the younger, and it would seem therefore that his activity as an enamel-painter had been limited to the first half of the century, but from |