Wilhelm von Bode’s spirit of acquisition in turn-of-the-century Berlin would result in forming a significant and comprehensive collection of Donatelloesque plaquettes, here explored for their function and influence in the genesis of plaquettes as a genre of sculpture.
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A Florentine Head of Christ is possibly the work of Giovanni da Maiano
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A Johannes-schüssel or Head of John the Baptist here ascribed to Bernt Notke or his workshop.
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A crucifix previously kept within a Parisan presbytery is here identified as the work of Manuel Chili, called Caspicara.
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Toward an opus of Antonio di Paolo Fabbri, called Antonio da San Marino and a Lamentation by Cesarino di Francesco del Roscetto, called Cesarino da Perugia.
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A devotional crucifix, whose model is believed to be the work of Michelangelo, is known preserved by a minority of casts in silver and bronze, the finest of which, is examined here. The crucifix is here suggested as made for Michelangelo’s friend, Vittoria Colonna, as a private gift or possible commission. A census of casts of the model are explored, tracing its origins in Rome and later to Seville where it influenced Spanish sculptors and painters during the first decades of the 17th century.
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A discussion and analysis concerning the use and reproduction of plaquettes by the De Levis family of bronze founders provides insight into the inner machinations of a provincial bronze foundry of the late Renaissance. This essay discusses how plaquettes invented by others were used as decorative embellishments for mortars and bells by the De Levis family foundry and how a later generation of De Levis family founders began adding potentially original modifications and creations to their workshop repertoire of reliefs.
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Discussion of an unpublished pax of the Entombment by Galeazzo Mondella, called Moderno, at the Parish Church of San Giuliano in Bologna and a reconsideration of Milanese influences in Moderno’s career.
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A bronze bust at the Walters Art Museum, thought to be an all’antica representation of an emperor, may instead be the portrait of a Medici family member.
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Ideas concerning several small sculptures, possibly by unsung, yet impressively talented German sculptors operating in the ambit of Balthasar Permoser.
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Renaissance Bronze 