Of FRANCESCO DURANTINO, of Urbino, we know nothing more than his signed works, and one of these gives rise to the question whether he ought to be ranked among the potters of Urbino, or as having a small establishment of his own at Bagnolo, or Bagnara, near Perugia. A plate in the British museum representing the meeting of Coriolanus and his mother is signed “frācesco durantino 1544,” as in the woodcut. [Illustration] A yellow tone of flesh, flowing drapery, animals (particularly horses) drawn with great vigour of action, a fine and delicate outline, with careful execution but occasional weakness of effect and a peculiar softness on some of the smaller and more distant figures, are characteristic of this artist’s style: the landscapes are executed with care and good effect. An example in the British museum has, however, all the richness of colour and force of the works of the Fontana. GUIDO MERLINGO or MERLINI or NERGLINO seems to have been a proprietor of a botega in Urbino, although his name does not occur as the actual painter. In the Brunswick museum a dish representing Mark Antony is signed, “fate in botega di Guido de Nerglino.” In the Louvre is a plate, subject Judith and Holophernes, signed at the back, “ne 1551 fato in Botega de Guido Merlino.” CÆSARE DA FAENZA worked in his fabrique about 1536, as proved by an agreement dated 1st January in that year, in which he is styled “Cæsare Care Carii Faventinus.” Among other recorded names are those of-- _Federigo di Giannantonio_, } _Nicolo di Gabriele_, } who worked about 1530. _Gian Maria Mariana_, } _Simone di Antonio Mariani, about 1542._ _Rafaelle Ciarla_, _Luca del fu Bartolomeo, about 1544_, _and_ _Guy, from Castel Durante_. FRANCESCO SILVANO had a botega in Urbino, at which Xanto worked in 1541, as proved by the signature on a plate representing the storming of Goleta. GEORGIO PICCHI or PICCI the younger, of the Durantine family, painted at Urbino. Pieces signed by him are extant. Borders of Cupids among clouds or covering the surface is a favourite decoration. In the decline of the Urbino potteries must be placed the productions of the members of the PATANATI or PATANAZZI family. They do not appear to have succeeded to any of the former eminent artists as masters of a fabrique, but painted at the establishment of Joseph Batista Boccione, as we are informed by a signed example. Passeri only mentions them as being of a noble family and as finding their names inscribed on specimens which he instances. One of these is at South Kensington; a large dish, no. 2612, signed ALF. P. F. VRBINI. 1606. The young _Vincenzio_ is the last whose name occurs. Passeri cites a piece by him, “Vincenzio Patanazzi da Urbino di eta d’anni tredici, 1620.”