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Catalogada hasta 1965 como obra de escuela napolitana, Pérez Sánchez señaló que era obra boloñesa, de estilo muy próximo a Sisto Badalocchio (1585-c. 1647). Recuerda a un Camino del Calvario de este artista que figuraba entre los cuadros comprados a los herederos de Maratti, en 1722, aunque hay que señalar una diferencia de dimensiones.
In this medallion and his partner (O3394) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece.
In this medallion and his partner (O3392) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece. Maria Anna, his second wife whom he married by proxy in 1689, wears an ornate, low-necked bodice with a jewelled brooch and the
Este portapaz y su pareja (O3394) en origen servían para ser besados durante la celebración de la Misa. Inicialmente, ambos tenían como efigie en la calle central un tema religioso, en este caso la representación de dos santos identificados en las cartelas inferiores como San Hipólito mártir y Santa Concordia. Las dos placas ovales quedan enmarcadas por una sencilla estructura arquitectónica en fo
In this medallion and his partner (O3392) the idealised king and queen are depicted according to the conventions of painted portraits, their faces in half-profile against a plain background with a large curtain. Charles II wears armour and the emblem of the Golden Fleece. Maria Anna, his second wife whom he married by proxy in 1689, wears an ornate, low-necked bodice with a jewelled brooch and the
