On many of the grand pieces of the Fontana fabrique the work of another hand is seen, which differs from the acknowledged manner of Orazio. They are among the most decorative productions of the factory, large round dishes with grotesque borders on a white ground, shaped pieces similarly decorated, and having panels of subject executed by the artist in question; others also where the subject covers the whole surface of the dish. We have no clue to the name of this able painter, but we would venture to suggest the great probability that these were the work of Camillo, who is said to have been an artist only inferior in merit to Orazio himself. In manner they approach nearly to, and are difficult to distinguish from, the finer examples of the Lanfranchi fabrique at Pesaro; less powerful and broad than the work of Orazio, and less careful in drawing than those ascribed to Guido, they approach the former in the blending of the colours and rich soft effect of surface, while a similar mode of rendering various objects, as stones, water, trees, &c. pervades all three, with slight individual variations. A peculiar elongation of the figures, and narrowing of the knee and ankle joints are characteristics of this hand, as also a transparent golden hue to the flesh. We are almost wholly in the dark as to the clever painters of the grotesques on a pure white ground which so charmingly decorate many of the noblest productions of Orazio’s furnace. The work of two or more hands is manifest on various pieces of the best period; one, perhaps the most able, is constantly seen on pieces, the istoriati panels or interiors of which are painted by Orazio himself or by the artist whose works we have just considered, and may, perhaps, also have been by the hand of the latter, a similar method of heightening with small strokes of red colour being observable on both. Gironimo, by whom we have a signed piece in the South Kensington museum, no. 4354, may have been another, but his manner is of a somewhat later character. Of Nicola, jun., we know nothing; he is mentioned in his father’s wills made in 1570 and 1576; and that he was unfortunate or improvident would seem probable from the fact that in the deed of contract between Orazio and his father on the occasion of his setting up for himself in 1565 he agrees to keep and provide for Domitilla and Flaminio, children of his brother Nicola, for the space of three years. Flaminio the nephew, son of Nicola, continued the works and was a favourite of the dukes Guidobaldo and Francesco Maria; it is said that the latter took him to Florence to teach and aid pupils studying under Bartolomeo degli Ammanati, where he remained for some years. Under the fabrique of Caffaggiolo we find pieces which may perhaps have been produced under the influence of this member of the family. In form and decoration with grotesques they are a poor reminiscence of the superior works of an earlier period.