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St. Helen discovering the True Cross
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino (Attributed To)
St. Helen discovering the True Cross
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino (Attributed To)

The use of light brown wash is characteristic of India´s style, as is the quirky drawing of the hair of many of the figures, especially that of the two ecclesiastics kneeling in the left foreground. The drawings shows St. Helen´s discovery on the True Cross, when a corpse was miraculously raised from the dead after having been placed on its beams, in the presence of spectators among them St. Helen

Nativity, with St. Francis and a female monastic saint; behind angels carrying symbols of the Passion
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino
Nativity, with St. Francis and a female monastic saint; behind angels carrying symbols of the Passion
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino

The correct attribution to India, also a painter from Verona and one of a number of local followers of Veronese (1528-1588), is Alessandro Ballarin´s. India worked almost exclusively in and around his native city, specializing above all as painter of frescoes for both churches and villas of the region. His drawing style combines the local idiom, based on Veronese, with aspects taken from Giulio Ro

August and the sybil
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino
August and the sybil
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino

Traditionally attributed to Nicolò dell´Abate (c. 1512-1571). In the elegantly classical arrangement of the composition, the drawing shows knowledge of the work of Giuseppe Porta, called Salviati (c. 1520-c.1575), but the handling seems nearer to that of Bernardino India, or a close associate. The figures in the background sport curls of hair that are exactly similar to India´s trademark qu

Parable of the wise and foolish virgins
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
India, Bernardino (Attributed To)
Parable of the wise and foolish virgins
Pencil, Grey-brown ink, Blue wash on yellow paper. XVI century
India, Bernardino (Attributed To)

The drawing carries an old attribution to Poccetti (1548-1612). There is much in the delicate rendering of the figures, especially in their facial type and coiffure , to suggest the hand of Bernardino India.

Studies of telamons and caryatids
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino (Attributed To)
Studies of telamons and caryatids
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
India, Bernardino (Attributed To)

Traditionally placed in collection as: BERETTINI DA CORTONA. The style, especially the handling of the hermaphroditic caryatid, top right, with large, pendulous breasts, seems characteristic of the Bernardino India. With the drawing turned clockwise 90o it is possible to see thought the paper a study of three standing female figures drawn on the other side of the sheet.

Dead Christ supported by angels
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
India, Bernardino
Dead Christ supported by angels
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
India, Bernardino

Formerly attributed to the Emilian painter and draughtsman Prospero Fontana (before 1512-1597). IN a note on the modern museum mount, dated 1981, J. A. Gere rightly suggested that this is by the Veronese, Bernardino India. The paper has been extended at the bottom and to the left, presumably by the artist, since some of the contours of the drawing are carried over into these areas.

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