[217] He left some valuable works in the upper valley of the Metauro, now almost destroyed. Such are his Prophets and Sybils in ten lunettes round the Corpus Domini at Urbania, with two Nativities in the same church, one in fresco, the other on canvas. An altar-piece, in the church of the Servites at S. Angelo in Vado, is very inferior to his Madonna and Saints in S. Francesco of Cagli. Some frescoes at Gubbio, lauded by Lanzi, and dated 1546, are among his best works.
[218] Vol. III., p. 444.
[219] Vat. Urb. MSS. No. 816, f. 64-72.
[220] In referring to the Annals of the Artists of Spain, it is a sincere pleasure to bear my feeble testimony to the merits of that excellent work. It is replete with information new to the English reader, and is enriched by apt and copious illustrations selected from a wide range of literature and æsthetics.
[221] In reference to appropriate lights, Baroccio entirely condemns the use of stained glass, as darkening the interior, and injuring, by coloured rays, the effect of paintings. Zuccaro, however, recommends the introduction of a tinted armorial bearing, surrounded by a wreath of fruits and flowers, as likely to mellow without obscuring the chapel.
[222] Lettere Pittoriche, vii., p. 513.
[224] Carteggio, III., pp. 529-35. This medallion is now removed from the library door to the first landing-place of the great stair. It may have been by the medallist, Clemente of Urbino, mentioned in [vol. II.]
[225] There is a copy of it in the Magliabechiana Library, class viii., No. 1392, to which Gaye has from other sources supplied the date of 6th March, 1542. Carteggio, II., 289-309. From him, Ciampi, Vasari, and Condivi, we have condensed the very confused details respecting the monument of Julius which have come down to us.
[226] A favourite workman of Buonarroti, often met with under the patronymic Urbino, was Francesco Amadori di Colonello, of Castel Durante, who lived with him from 1530 to 1536. See Gualandi, Nuovo Raccolta di Lettere sulla Pittura, I., 48-52.