4th. That probably nearly all the “istoriati” pieces (1530-50) of Urbino, Castel Durante, or other fabriques, enriched with lustre, were so decorated by a subsequent operation at the Giorgio botega; and,
5th. Consequently, the use of lustre colours was mainly confined to Gubbio, where painted wares by Xanto and other artists working at Urbino and other places, were sent to be lustred.
Before entering upon the subject of maestro Giorgio’s own works it will be necessary to glance at the earlier productions of his predecessors and probable instructors. In the absence of more positive evidence of the manufacture of early lustred wares at Pesaro, and with a view to keeping all the lustred wares together as much as possible, we have thought it more convenient to include in the large catalogue those pieces which may probably have been made at that city among the lustred wares of Gubbio, always affixing to each such piece the name of Pesaro and of Gubbio with a (?), and arranging them as a separate class. And in order to facilitate the methodical study of the rise and development of the art at Gubbio we have classified the lustred wares in the following manner, and in probable sequence of date:—
A. Works ascribed to Pesaro (or Gubbio?), the typical “bacili” referred to by Passeri, &c.
B. Works believed of the early master who preceded Mº Giorgio at Gubbio.
C. Works ascribed to maestro Giorgio’s own hand.
D. Works of the fabrique, and pieces painted by unknown artists, though bearing the initials of the master.
E. Works by the artist signing N. and by his assistants.
F. Works painted by other artists at other fabriques, and subsequently lustred at Gubbio.
G. Works of Mº Prestino, and of the later period.