flourished, confutes him, and considers him to have been instructed by Barocci in Urbino for many years, and that afterwards he became a diligent observer of all his pictures which he could discover in other places. Whilst Italy was filled with the fame of Barocci, there came to Urbino, and resided in his house for some time, Claudio Ridolfi, called also Claudio Veronese, from his native city, of which he was a noble. He was there instructed by Dario Pozzo, an author of few but excellent works, and after these first instructions he remained many years without further applying himself. Being afterwards compelled by necessity to practise the art, he became the scholar of Paolo, and the rival of the Bassani; and not finding employment in his native place, which then abounded with painters, he removed to Rome, and from thence to Urbino. It is said that he derived from Federigo the amenity of his style, and the beautiful airs of his heads. He married in Urbino, and afterwards fixed his residence in the district of Corinaldo, where, and in the neighbouring places, he left a great number of pictures, which yield little in tone to the best colourists of his native school, and are often conducted with a design, a sobriety, and a delicacy sufficient to excite their envy. Ridolfi, who wrote a brief life of him, enumerates scarcely one half of his works. There are some at Fossombrone, Cantiano, and Fabriano; and Rimino possesses a Deposition from the Cross, a beautiful composition. There are several mentioned in the _Guida di Montalboddo_, lately edited. Urbino is rich in them, where the Nascita del S. Precursore, (the Birth of S. John the Baptist), at S. Lucia, and the Presentation of the Virgin at the Spirito Santo, are highly valued. Many of his works are also to be seen in the Palazzo Albani, and in other collections of the nobility in Urbino. He there indeed formed a school, which gave birth to Cialdieri, of whom there are works remaining, both public and private; the most noted of which is a Martyrdom of S. John, at the church of S. Bartholomew. He possessed a facility and elegance of style, was highly accomplished in landscape, which he often introduced into his pictures, and is remarkable for his accurate perspective. Urbinelli, of Urbino, and Cesare Maggieri[73] of the same city, lived also about this time. The first was a vigorous painter, an excellent colourist, and partial to the Venetian style. The second an industrious artist, inclining to the style of Barocci and Roman School. The history of art does not assign either of these to the school of Ridolfi; but there is a greater probability of the first rather than the second belonging to it. Another painter of uncertain school, but who partakes more of Claudio than of Barocci, is Patanazzi, who is mentioned in the Galleria de' Pittori Urbinati, (v. Coluc. tom. xvi.), and poetic incense is bestowed on his _risentito pennello e l'ottima invenzione_. I have seen by him in a chapel of the Duomo a