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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Galeazzo Mondella’s original Entombment
Discussion of an unpublished pax of the Entombment by Galeazzo Mondella, called Moderno, at the Parish Church of San Giuliano in Bologna and a reconsideration of Milanese influences in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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The Paxes of Giovanni Battista Panzeri and his workshop
A survey on rare damascened steel or iron plaquettes for use on paxes. This article is part of a larger future project that will study the art, architecture, function and history of paxes.
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Glyptics, Italian Plaquettes in France and their Reproduction in Enamel
The emergence of Italian plaquettes in France and their use by the enamelers of Limoges, especially Jean Penicaud II and the Master KIP.
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The Paxes and Reliefs of Antonio Gentili da Faenza
An examination of Antonio Gentili’s reworking of Guglielmo della Porta’s models and proposed attributions for several reliefs and paxes.
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Flagellation
Riddick collection No. 71 – Summary of an unpublished Spanish pax depicting the Flagellation, here attributed to the Circle of Francisco de Alfaro, early 17th century.
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A Remarkable Florentine Pax
An exceptional pax featuring a Madonna and Child group here attributed to Maso di Bartolomeo after a design by Luca della Robbia. A discussion on the early typology for architecturally inspired pax frames is also explored.
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Reverse Painted Rock Crystals in the Manner of Giovanni Pietro di Birago and observations regarding a Pax at the Palazzo Madama
Discussions on the influence of Giovanni Pietro di Birago’s illuminations on mid-16th century reverse painted rock crystals and the alignment of a pax with a Spanish rather than Italian origin.
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Gothic German Influences on Two Lombard Paxes, ca. 1500
Examining two rare Lombard paxes inspired by German designs or borrowed from reliefs of German origin.
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Michelangelo’s Pieta in Bronze
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.
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