The prismatic glaze, especially of gold and ruby colour, was unequalled in those plates painted at Gubbio by Maestro Giorgio Andreoli, who appears to have come hither from Pavia with his brothers Salimbeni and Giovanni. His name was there enrolled among the nobility in 1498, but the dates affixed to his plates extend from 1518 to about 1537. He had previously executed several plastic works of the nature of della Robbia's figures, the principal of which was a Madonna del Rosario altar-piece for the Domenican church, which has been enthusiastically described in No. 928 of the London _Athenæum_. It was torn down by the French in their wonted course of rapine, and, to the disgrace of the local authorities of Gubbio, lay neglected for several years after the peace, until purchased for the Steidl Institut at Frankfort. The only other of his productions remaining at Gubbio is a life-sized statue of St. Anthony in the same church, quite inferior as regards design and religious feeling to those of the Tuscan sculptors, and which, though coloured, has no metallic lustre. He is said by Passeri to have lived until 1552; and of his family, who long occupied an honourable station in their native city, only a son, Cencio, followed his father's profession. I have seen a plate of this school at Mr. Forrest's, 54 Strand [1850], rudely signed with G; others have R, perhaps il Rovigese, whom I shall presently mention. Mo. Prestino da Gubbio wrought about 1557, but the latest date I have seen with metallic lustre and the Gubbian mark is 1549, on which the iridescence was extremely feeble.