"The fame of the Gubbio wares is associated almost entirely with one name, that of Giorgio Andreoli. We learn from the Marchese Brancaleoni that this artist was the son of Pietro, of a 'Castello' called 'Judeo,' in the diocese of Pavia; and that, accompanied by his brother Salimbene, he went to Gubbio in the second half of the fifteenth century. He appears to have left and again returned thither in 1492, accompanied by his younger brother Giovanni. They were enrolled as citizens on the 23d of May, 1498, on pain of forfeiting five hundred ducats if they left the city in which they engaged to continue practising their ceramic art. Patronized by the dukes of Urbino, Giorgio was made 'castellano' of Gubbio. Passeri states that the family was noble in Pavia. It is not known why or when he was created a 'Maestro'--a title prized even more than nobility--but it is to be presumed that it took place at the time of his enrollment as a citizen, his name with the title 'Maestro' first appearing on a document dated that same year, 1498. Piccolpasso states that maiolica-painters were considered noble by profession. The family of Andreoli and the 'Casa' still exist in Gubbio, and it was asserted by his descendant, Girolamo Andreoli, who died some forty years since, that political motives induced their emigration from Pavia. "Maestro Giorgio was an artist by profession, not only as a draughtsman, but as a modeler; and, being familiar with the enameled terra-cottas of Luca della Robbia, is said to have executed with his own hands and in their manner large altar-pieces. We were once disposed to think that great confusion existed in respect to these altar-pieces in _rilievo_, and were inclined to the belief that, although some of the smaller lustred-works may have been modeled by Giorgio, the larger altar-pieces were really only imported by him. Judging from the most important which we have been able to examine, the 'Madonna del Rosario,' portions of which are in the museum at Frankfort-on-the-Main, it seemed to approach more nearly to the work of some member of the Della Robbia family. This fine work is in part glazed, and in part colored in distemper on the unglazed terra-cotta, in which respect it precisely agrees with works known to have been executed by Andrea della Robbia, assisted by his sons. There are no signs of the application of the lustre-colors to any portion of the work, but this might be accounted for by the great risk of failure in the firing, particularly to pieces of such large size and in high-relief. Be this as it may, from a further consideration of the style of this work and the record of others, some of which are heightened with the lustre-colors, and the fact stated by the Marchese Brancaleoni that a receipt for an altar-piece is still preserved in the archives of Gubbio, we are inclined to think that history must be correct in attributing these important works in ceramic sculpture to Maestro Giorgio Andreoli.