New observations and ideas concerning the use and proliferation of Michelangelo’s models of crucified “thieves.”
A sculpture of St. Anthony may be the first work in wood to be identified with Pietro Torrigiani, made famous for his brawl with Michelangelo and for spreading the Cinquecento style of Italian art throughout Europe.
A visual comparison and historical survey is made between the work of Francesco da Sangallo and a bronze group of nude men riding beasts, presently attributed to Michelangelo.
Examined is the discovery of an engraved rock crystal evidently serving as the master prototype for a quantity of late 15th century bronze plaquettes. A relationship of the rock crystal with Lorenzo de’ Medici is drawn by way of a relationship with its subject: a Head of Pan. Also discussed is the crystal’s reproduction in a sketch by a young Michelangelo and finally surveyed is the curious loss of the object’s meaning in exchange for what would become a universally vilified image of Attila the Hun.
A popular pax after Michelangelo’s Pieta for Vittoria Colonna and a Deposition pax are here suggested as the product of Ludovico and/or Jacopo del Duca while a later variant of Michelangelo’s Pieta, formed as a pax, is given to a Venetian workshop active in the first part of the 17th century.