Urbino, too, had her artists, as her princes were not behind the other rulers of Italy in good taste. At the restoration of the art, we find Giotto, and several of his scholars, there; and afterwards Gentile da Fabriano,[12] a Galeazzo, and, possibly, a Gentile di Urbino. At Pesaro, in the convent of S. Agostino, I have seen a Madonna, accompanied with beautiful architecture, and an inscription--_Bartholomaeus Magistri Gentilis de Urbino_, 1497; and at Monte Cicardo, I saw the same name on an ancient picture of 1508, but without his birthplace. (Ant. Pic. tom. xvii. 145.) I am in doubt whether this _M. Gentilis_ refers to the father of Bartolommeo or his master, as the scholars at that time often took their designation from their masters. At all events, this artist is not to be confounded with Bartolommeo from Ferrara, whose son, Benedetto, subscribes himself _Benedictus quondam Bartholomaei de Fer. Pictor._ 1492. This is to be seen in the church of S. Domenico di Urbino, on the altarpiece in the Chapel of the Muccioli, their descendants. In the city of Urbino there remain some works of the father of Raffaello, who, in a letter of the Duchess Giovanna della Rovere, which is the first of the Lettere Pittoriche, is designated as _molto virtuoso_. There is by him in the church of S. Francis, a good picture of S. Sebastian, with figures in an attitude of supplication. There is one attributed also to him in a small church dedicated to the same saint, representing his martyrdom, with a figure foreshortened, which Raffaello, when young, imitated in a picture of the Virgin, at Città di Castello. He subscribed himself _Io. Sanctis Urbi._ (_Urbinas_). So I read it in the sacristy of the Conventuals of Sinigaglia in an Annunciation in which there is a beautiful angel, and an infant Christ descending from the father; and which seems to be copied from those of Pietro Perugino, with whom Raffaello worked some time, though it has a still more ancient style. The other figures are less beautiful, but yet graceful, and the extremities are carefully executed. But the most distinguished painter in Urbino was F. Bartolommeo Corradini d'Urbino, a Domenican, called Fra. Carnevale. To an accurate eye his pictures are defective in perspective, and retain in the drapery the dryness of his age, but the portraits are so strongly expressed that they seem to live and speak; the architecture is beautiful, and the colours bright, and the air of the heads at the same time noble and unaffected. It is known that Bramante and Raffaello studied him, as there were not, at that time, any better works in Urbino. In Gubbio, which formed a part of this dukedom, were to be seen in that age the remains of the early school. There exists a fresco by Ottaviano Martis in S. Maria Nuova, painted in 1403. The Virgin is surrounded by a choir of angels, certainly too much resembling each other, but in their forms and attitudes as graceful and pleasing as any contemporary productions.