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The Christian Soul accepts the Cross
Oil on canvas. Ca. 1630
Anonymous
The Christian Soul accepts the Cross
Oil on canvas. Ca. 1630
Anonymous

Totally surrounded by crosses, Christ accepts his penitence. He is followed by a young woman in the same pose wearing a wreath of flowers and identified as the Christian Soul. While this work is undou [+]

Putti supporting roundels framed in decorative strap-work
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Bedoli, Girolamo Mazzola)
Putti supporting roundels framed in decorative strap-work
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous (Follower Of Bedoli, Girolamo Mazzola)

These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D01 [+]

Putti supporting roundels framed in decorative strap-work
Pencil, Wash on paper. XVI century
Anonymous (Manner Of Bedoli, Girolamo Mazzola)
Putti supporting roundels framed in decorative strap-work
Pencil, Wash on paper. XVI century
Anonymous (Manner Of Bedoli, Girolamo Mazzola)

These two drawings, mounted together, carry a traditional attribution to Baglione (c.1575-1643/44), which is surely incorrect, if one compares the style which that of the St. Jerome in the Prado (D015 [+]

Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous (Copy Sarto, Andrea del (Andrea D'agnolo))
Procession of the Magi
Pencil, Red chalk on paper. Ca. 1600
Anonymous (Copy Sarto, Andrea del (Andrea D'agnolo))

From its style, the drawing appears to have been made by a Florentine artist active around 1600, perhaps from the circle of Jacopo Chimenti da Empoli (1551-1640) or Cigoli (1559-1613). Andrea del Sart [+]

Studies of Heads
Pencil, Grey ink on brown paper. Early XVI century
Anonymous (Circle Of Parmigianino. Girolamo Francesco Maria Mazzola)
Studies of Heads
Pencil, Grey ink on brown paper. Early XVI century
Anonymous (Circle Of Parmigianino. Girolamo Francesco Maria Mazzola)

In a note on the modern museum matte, Sylvie Béguin suggested that the drawing could be after Parmigianino (1980). The types are indeed Parmigianinesque but they may instead reflect the work of [+]

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