| Federigo di Giannantonio, | }who worked about 1530. |
| Nicolo di Gabriele, | |
| Gian Maria Mariana, | |
| Simone di Antonio Mariani, about 1542. | |
| Rafaelle Ciarla, | |
| Luca del fu Bartolomeo, about 1544, and | |
| Guy, from Castel Durante. |
Francesco Silvano had a botega in Urbino, at which Xanto worked in 1541, as proved by the signature on a plate representing the storming of Goleta.
Georgio Picchi or Picci the younger, of the Durantine family, painted at Urbino. Pieces signed by him are extant. Borders of Cupids among clouds or covering the surface is a favourite decoration.
In the decline of the Urbino potteries must be placed the productions of the members of the Patanati or Patanazzi family. They do not appear to have succeeded to any of the former eminent artists as masters of a fabrique, but painted at the establishment of Joseph Batista Boccione, as we are informed by a signed example. Passeri only mentions them as being of a noble family and as finding their names inscribed on specimens which he instances. One of these is at South Kensington; a large dish, no. 2612, signed ALF. P. F. VRBINI. 1606. The young Vincenzio is the last whose name occurs. Passeri cites a piece by him, “Vincenzio Patanazzi da Urbino di eta d’anni tredici, 1620.”
Another piece by this youthful phenomenon is in the collection of monsignore Cajani at Rome, representing the expulsion from paradise. It is a most inferior production and not meritorious even for so young an artist.
With the exception of some large dishes and a few others the wares of Urbino, as a rule, are not ornamented on the reverse. The more usual pieces are edged with a yellow line which is repeated round the foot or central hollow, in the middle of which the titular inscription or date is written in manganese black, dark olive, or blue colour. The paste is sometimes of a pink hue, produced by the colour of the clay shining through the glaze, but in other cases of a purer white. In the “sopra bianco” grotesques the ground is rendered unusually white by an additional surface of terra di Vicenza or bianco di Ferrara; the glaze is of fine quality and even surface. It may be here noticed that the wares known of the Lanfranco fabrique at Pesaro have similar characteristics, and it is not possible to distinguish between them. That wares of a better class were occasionally produced at Urbino during the last century is proved by a lamp in the South Kensington collection, no. 6856; made, as the inscription tells us, at the Fabrica di Majolica fina, which seems to have been established or conducted in that city in 1773 by a French artist named Rolet. We hear of him previously at Borgo San Sepolcro in 1771, but all further record of his productions or his success is unknown.
We are not aware that Urbino at present produces any artistic pottery.
CHAPTER XIV.
Borgo San-Sepolcro, Diruta, &c.
There is an example of the Borgo San-Sepolcro ware at South Kensington, a lamp, formed of faience of a bluish white shade, painted with garlands of flowers, &c. in colour, on which is written under the foot, “Citta Borgo S. Sepolcro a 6 Febraio 1771. Mart. Roletus fecit.”