Mº Giorgio’s manner of decoration consists of foliated scrolls and other ornaments terminating in dolphins, eagles, and human heads, trophies, masks, &c.; in the drawing of which he exhibited considerable power with great facility of invention. These “grotesche” differ materially from those of Urbino and Faenza, approaching more to the style of some of the Castel Durante designs. In the drawing of figures, and of the nude, Giorgio cannot be ranked as an artist of the first class. From 1519 his signature, greatly varied, occurs through succeeding years. It would be useless to repeat the many varieties, several of which will be seen in the large catalogue and among the marks on specimens in other collections. We believe that to whim or accident may be ascribed those changes that have tasked the ingenuity of connoisseurs to read as other names. His finer and more important pieces were generally signed in full “Maestro Giorgio da Ugubio” with the year, and sometimes the day of the month. About the year 1525 he executed some of his most beautiful works; perhaps the finest large dish, and of the highest quality which has been preserved to us, was lately in the possession of the baronne de Parpart; we understand that it has been sold for £880. In that piece a rich grotesque border surrounds the subject of Diana and her nymphs, surprised by Actæon; on p. 125 is a fac-simile, half size, of the signature at the back. [Illustration] In the next division D. are the works of the fabrique under Giorgio’s direction, and pieces which though manifestly painted by other hands are signed in lustre with his initials or full signature. We have no means of learning what part his brothers undertook in the manufactory. A separate division has also been formed of the works ascribed to or signed by the artist who used the letter N, variously formed, as his monogram. Mr. Robinson has ingeniously suggested that this letter, containing as it does the [Illustration] three, V I and N, may really have been adopted by “Vincenzio,” the only one of his sons known to have assisted. He succeeded Mº Giorgio in the fabrique, where he was generally known as Mº Cencio. Brancaleoni states that he worked with his father till 1536, when he married and set up for himself. There is little doubt that although Mº Giorgio may himself have occasionally applied the lustre pigments with his own brush to the pieces painted by other artists at other places, the majority of those so enriched were executed by his son or assistants. M. Darcel thinks that this practice did not begin earlier than 1525, in which view we are inclined to agree. [Illustration]