Robinson’s valuable remarks. It is a matter of uncertainty whether Guido Fontana and Guido Durantino were the same person or rival maestri; and we are disposed to the former opinion, from the fact that in the documents quoted by Pungileoni no other “Vasaio” named Guido, and of Castel Durante, is named. The pieces inscribed as having been made in their boteghe although painted by different hands may, by the wording of their inscriptions afford some explanation; thus, on the Sta. Cecilia plate painted by Nicola, he [Illustration] writes in 1528, “_fata in botega di Guido da Castello d’Urante in Urbino_,” from which we argue a connexion with the Fontana. Unfortunately, we know no piece signed as actually painted by the hand of Guido Fontana, but as he took that cognomen after settling in Urbino it would be more probable that he would himself apply it on his own work; whereas Nicola (presumably his father), on a piece of earlier date, retained the name of their native _castello_. By others the botega would long be known as that of the “durantini,” and that it retained that appellation [Illustration] even in the following generation is proved by the occasional reference to Orazio Fontana as of Castel Durante. We give a woodcut of an example of the highest quality; a pilgrim’s bottle, at South Kensington, no. 8408. The manner of the painter of these pieces approaches very much to that of Orazio but is less refined and rich in colouring wanting that harmony and power of expression for which he was remarkable; the drawing is more correct and careful than on some of Orazio’s work, but is more dry and on the surface; there is great force and movement in the figures and the landscape backgrounds are finished with much care and effect, sometimes covering the whole piece; the foliage of the trees is also well rendered.