Gubbio possessed two painters, brothers of the family de' Nucci; Virgilio, who was said to be the scholar of Daniel di Volterra, whose Deposition he copied for an altar at S. Francis in Gubbio; and Benedetto, a disciple of Raffaellino del Colle, considered the best of the painters of Gubbio.[67] Both of them have left works in their native place, and in the neighbouring districts; the first of them always following the Florentine, and the second the Roman School. Of the latter there are many pictures at Gubbio, which shew the progress he had made in the style of Raffaello; and to see him in his best work, we must inspect his S. Thomas in the Duomo, which would be taken for a picture of Garofalo, or some such artist, if we were not acquainted with the master. A little time afterwards flourished Felice Damiani, or Felice da Gubbio, who is said to have studied in the Venetian School. The Circumcision at S. Domenico has certainly a good deal of that style; but in pencil he inclines more to the Roman taste, which he, perhaps, derived from Benedetto Nucci. The Decollation of St. Paul, at the Castel Nuovo, in Recanati, is by him: the attitude of the saint excites our sympathy: the spectators are represented in various attitudes, all appropriate and animated: the drawing is correct, and the colours vivid and harmonious. It is inscribed with the year 1584. About ten years afterwards, he painted two chapels at the Madonna de' Lumi, at S. Severino, with subjects from the life of Christ; and there likewise displayed more elegance than grandeur of style. His most studied and powerful work is at S. Agostino di Gubbio, the Baptism of the Saint, painted in 1594, a picture abounding in figures, and which surprises by the novelty of the attire, by its correct architecture, and by the air of devotion exhibited in the countenances. He received for this picture two hundred scudi, by no means a low price in those times; and it should seem that his work was regulated by the price, since in some other pictures, and particularly in one in 1604, he is exceedingly negligent. Federigo Brunori, called also Brunorini, issued, it is said, from his school, and still more decidedly than his master, followed the Venetian style. His portraits are natural; and he was a lover of foreign drapery, and coloured with a strong effect. The Bianchi have an Ecce Homo by him, in which the figures are small, but boldly expressed, and shew that he had profited from the engravings of Albert Durer. Pierangiolo Basilj, instructed by Damiani, and also by Roncalli, partakes of their more delicate manner. His frescos, in the choir of S. Ubaldo, are held in esteem; and at S. Marziale, there is by him a Christ preaching, with a beautiful portico in perspective, and a great number of auditors: the figures in this are also small, and such as are seen in the compositions of Albert Durer. The pictures appear to be painted in competition. Brunori displays more energy, Basilj more variety and grace.