But the art did not attain the perfection which Vasari describes, until about the year 1540, and was indebted for it to Orazio Fontana, of Urbino, whose vases, for the polish of the varnish, for the figures, and for their forms, may perhaps be ranked before any that have come down to us from antiquity. He practised this art in many parts of the state, but more especially in Castel Durante, now called Urbania, which possesses a light clay, extremely well adapted for every thing of this nature. His brother, Flamminio, worked in conjunction with him, and was afterwards invited to Florence by the grand duke of Tuscany, and introduced there a beautiful manner of painting vases. This information is given us by the Sig. Lazzari, and for which the Florentine history of art ought to express its obligations to him. The establishment of this fine taste in Urbino, was, in a great measure, owing to the Duke Guidobaldo, who was a prince enthusiastically devoted to the fine arts, and who established a manufactory, and supported it at his own expense. He did not allow the painters of these vases to copy their own designs, but obliged them to execute those of the first artists, and particularly those of Raffaello; and gave them for subjects many designs of Sanzio never before seen, and which formed part of his rich collection. Hence these articles are commonly known in Italy by the name of Raphael ware, and from thence arose certain idle traditions respecting the father of Raffaello, and Raffaello himself; and the appellation of _boccalajo di Urbino_ (the potter of Urbino), was in consequence applied, as we shall mention, to that great master.[70] Some designs of Michelangiolo, and many of Raffaele del Colle, and other distinguished masters, were adopted for this purpose. In the life of Batista Franco, we are informed that that artist made an infinite number of designs for this purpose, and in that of Taddeo Zuccaro it is related that all the designs of the service, which was manufactured for Philip II., were entrusted to him. Services of porcelain were also prepared there for Charles V. and other princes, and the duke ordered not a few for his own court. Several of his vases were transferred to, and are now in the S. Casa di Loreto; and the Queen of Sweden was so much charmed with them, that she offered to replace them with vases of silver. A large collection of them passed into the hands of the Grand Duke of Florence, in common with other things inherited from the Duke of Urbino, and specimens of them are to be seen in the ducal gallery, some with the names of the places where they were manufactured. There are many, too, to be found in the houses of the nobility of Rome, and in the state of Urbino, and, indeed, in all parts of Italy. The art was in its highest perfection for about the space of twenty years, or from 1540 to 1560; and the specimens of that period are not unworthy a place in any collection of art. If we are to believe