The work of another, a later and inferior hand, probably of the Fontana fabrique, is abundant in collections; his manner is between that of the Fontana and of the Patanazzi; free and effective, but loose and careless; the Fontana pigments are used, and occasionally pieces occur painted with greater pains. Many vases with serpent handles and other shaped pieces were painted by this hand, of whose name we have no record, and it would be only guessing to suggest that Guido Fontana, junior, the son of Camillo, who died in 1605, may have been their author. Another important artist of the Urbino fabrique was FRANCESCO XANTO, who, like Giorgio, adopted the unusual habit of signing in various forms the greater number of the pieces which he painted. Although we cannot but appreciate the modesty, the “Lamp of Sacrifice,” which induced so many of the earlier and contemporary artists of the highest excellence to refrain from attaching their names to the works of their hands, or at the most to sign a few of their admirable productions in monogram, we must regret their having used so much reserve, and that in consequence conjecture must take so large a place in the history of this branch of artistic handicraft. We have little other information of this painter beyond what is conveyed by the inscriptions on pieces by his hand. His name is mentioned by Rog. Vincenzo Vanni, on the 29th March 1539, as “Franciscus Xatis fictilinus vasorum pictor egregius.” A native of Rovigo, he seems to have settled at Urbino and there produced all his works. His true name, gathered from his varied signatures, would appear to be Francesco Xanto Avelli da Rovigo, and the dates of his signed works extend from 1530 to 1542, although it is highly probable that many existing undated pieces were executed before, and perhaps after those dates. His earlier works are generally more fully signed, while many of the latter have only one or two initial letters. Works by Xanto are to be found in almost every collection of any note, and among them are examples of high artistic excellence, although very many betray want of care and hasty execution. It appears that many of his pieces were subsequently enriched with the golden and ruby lustre colour at the botega of Mº Giorgio, and Mº N at Gubbio; and, indeed, it was mainly by the observation of these, so distinctly painted and signed by Xanto at Urbino, and to which the metallic _reflet_ had been added evidently by a subsequent process, that it was inferred that the lustre was a special enrichment applied at another fabrique to works painted elsewhere. Of Xanto’s style and merits as an artist Mr. Robinson writes: