With his other art treasures the ornamental vases and vessels of the _credenza_, among which were doubtless some of the choicest productions of the Urbino furnaces made for Guidobaldo, must have been in great part removed to Florence; and there accordingly we find some remarkable specimens. For many years neglected, these noble pieces were placed almost out of observation on the top of cases which contained the Etruscan and other antique vases in the gallery of the Uffizi. When more general interest was excited on the subject of the renaissance pottery these examples were removed to another room. They now occupy central cases in one of the rooms of the Bargello, used as a museum of art objects, and form a magnificent assemblage of vases, ewers, vasques, pilgrim’s bottles, and other shaped pieces, dishes, and salvers, perhaps the richest that has descended collectively to our days, and among which may be recognised the works of all the more important ceramic artists of Urbino. Portions of a magnificent service of the best period of Orazio Fontana’s botega are dispersed in various collections, as also some pieces of equally rich quality made after the same models, but which were probably of another “credenza.” Two of the former were exhibited at the loan exhibition in 1862, by baron Anthony de Rothschild. They are large oval dishes with raised medallion centres, and having the surface, both internally and outside, divided into panels by raised strap work springing from masks, with ornamental moulded borders, &c. These panels, edged with cartouche ornament, are painted with subjects from the Spanish romance of Amadis de Gaul, and on the reverse are inscriptions in that language corresponding with the panel illustrations. The central subject is not of the same series, but represents boys shooting at a target, on one dish, and warriors fighting, upon the other. The border is painted with admirable Urbino grotesques on a brilliant white ground. The size of these pieces is 2 ft. 2 in. by 1.8½ in. It appears that the Fontana botega was neither founded nor maintained although greatly encouraged and patronised by the duke Guidobaldo, but was solely created by the enterprise and sustained by the united industry of the family. Orazio died on the 3rd August 1571. By his will he left his wife 400 scudi, &c. and power to remain in partnership with his nephew Flaminio, with a view to the benefit of his only daughter, Virginia, who had married into the Giunta family when young. We think there is every probability that the fabrique was so continued, and that a numerous class, having the character of the wares of the botega but of inferior artistic merit and showing the general decadence of the period, may with probability be attributed to it.