Having thus considered the various sites and sorts of Urbino majolica, its processes and purposes, we shall mention some of the artists employed upon it. Of these there were two classes, the potter who mixed and manipulated, modelled and moulded clay-clod into an article of convenience or luxury, and the painter whose pencil rendered it an object of the fine arts; latterly, however, these branches were combined, and were carried on by a class of artificers called _vasaii_ or _vasari_, and _boccalini_, according as vases or bottles prevailed in their workshops. The little that has come to our knowledge regarding those by whom the early Pesarese and Gubbian ware was fashioned and decorated will be found in a former page. The latter makers of Pesaro and Urbino have more frequently left us the means of identifying their performances in monograms or signatures, usually inscribed in blue characters on the back of plates. But before considering these, we may dispose of the vulgar error which has given Raffaele's name to Italian porcelain. Superficial or romancing writers have often seriously repeated, with purely fictitious additions, Malvasia's petulant sneer, which he was fain quickly to retract, that the great Sanzio was a painter of plates; others have, without better grounds, made him assistant to his father, a potter. There is however nothing connecting him with the ceramic art beyond a loose notice by Don V. Vittorio, in his _Osservazioni Sopra Felsina Pittrice_ (pp. 44, 112-14), of a letter from Raffaele referring to designs supplied by him to the Duchess for majolica. That he did supply such drawings is possible, though discredited by Pungileoni, and, if true, it in no way compromises his status, at a period when high art lent a willing hand to decorate and elevate the adjuncts and appliances of domestic life. This much is certain, that compositions emanating from Sanzio and his school were employed in ornamenting porcelain during the sixteenth century, but they were doubtless obtained from his pupils, or from the engravings of Marc Antonio. Such is the title here introduced from the original in my possession (8-1/2 inches by 7), which is one of the most Raffaelesque I have met with, and which, though not signed, displays the colouring practised by Fra Xanto, the blue and green being deep and well marked, the orange and yellow of the clouds and curtain in metallic iridescence.