In the second half of the XVI century, Urbino became an artistic center once again, in an age which was strongly characterized by the genius of Federico Barocci (1533-1612). This painter was loved by the Della Rovere, dukes of Urbino, as well as being very appreciated in Rome. Under the wings of the Counter-Reformation, Barocci elaborated an artistic language which was capable of moving past the confines of the duchy to influence Masters such as Annibale Carracci (1560-1609) from Bologna as well as Flemish artist Peter Paul Rubens (1577-1640). Barocci was able to combine naturalism with an ideal beauty which often reveals itself in a divine epiphany. Through technical expertise used to dominate colors and forms, the artist gives fundamental importance to the invention and preparation of design. The ecstasy of the Beata Michelina and San Girolamo penitente (both sketches), express the profound religious devotion  of the painter, who interprets his subjects with an infinite sweetness of form and unites it with the reality of everyday life. Students and followers of the Master frequently reproduced this model, not only by assuming both his stylistic traits, but also the compositional forms. Emblematic of the power of the Baroque model is the copy painted by Carlo Roncalli of the Madonna del Gatto by Barocci (first half of the XVIII century). This was commissioned by the Albani family and considered to have been an original by Barocci until recent times. It was so appreciated as to have been used as the key image of the Museum collection