Another painter almost unknown in the history of art, but of singular merit, is Filippo Bellini of Urbino, of whom I have not seen any works in his native place, but a number in oil and fresco scattered through many cities of the March. He is in general an imitator of Barocci, as in the picture of the Circumcision in the church of Loreto, in the Espousals of the Virgin in the Duomo in Ancona, and in a Madonna belonging to the Counts Leopardi at Osimo. He affords, however, sometimes an example of a vigorous and lively style, and exhibits a powerful colouring, and a grandeur of composition. He discovered this character in some works in Fabriano in his best time, and particularly in the Opere della Misericordia, which are fourteen subjects taken from Scripture, and represented in the church della Carità.[72] They are beheld by cultivated foreigners with admiration, and it appears strange that such a painter, whose life and works are alike worthy of remembrance, should not have found a place in the catalogues. He is also extolled for his works in fresco, in the chapel of the Conventuals in Montalboddo, where he has represented the Martyrdom of S. Gaudenzio, and which is described in the guide book of that city. We may next notice Antonio Cimatori, called also Antonio Visacci, not only by the vulgar, but also by Girolamo Benedetti, in the Relazione, which in the lifetime of the artist he composed on the festival at Urbino, in honour of Giulia de' Medici, married to the Prince Federigo. Cimatori was there engaged to paint the arches and pictures, which were exhibited, in conjunction with the younger Viviani, Mazzi, and Urbani. His forte lay in pen drawing, and in chiaroscuro; as may be seen from his Prophets, in a grand style, transferred from the Duomo to the apostolic palace. He did not leave many works in his native place; but amongst them is his picture of S. Monica, at S. Agostino. His copies from the original pictures of Barocci are to be found in various places, particularly in the Duomo of Cagli. He resided, and worked for a long time in Pesaro, where he instructed Giulio Cesare Begni, a bold and animated artist, a good perspective painter, and in a great degree a follower of the Venetian School, in which he studied and painted. He left many works in Udine, and many more in his native place, in a rapid and unfinished style, but of a good general effect. In the _Descrizione odeporica della Spagna_, (tom. ii. p. 130), we find Giovanni and Francesco d'Urbino mentioned, who about the year 1575, it seems, were both engaged by the court to decorate the Escurial. The latter came early in life to Spain, and being endowed with a noble genius, soon became an excellent artist, and is extolled by his contemporary P. Siguenza, and by all who have seen the Judgment of Solomon, and his other pictures in a choir in that magnificent place: he died young. That these works belong to the pencil of Barocci might be suspected from