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Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous
Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous

The former attribution to Parmigianino (1503-1540) is untenable. The style suggest knowledge of the work of both Pellegrino Tibaldi (1527-1596) and Samacchini (1532-1577).

Mystic Marriage of St. Catherine
Pencil, Pencil ground, Grey ink on paper. Second half of the XVI century
Anonymous
Mystic Marriage of St. Catherine
Pencil, Pencil ground, Grey ink on paper. Second half of the XVI century
Anonymous

As Sylvie Béguin pointed out in a note on the modern museum matte (1980), this is a copy of the painting in the Pinacoteca Nazionale, Bologna, once given to Pellegrino Tibaldi (1527-1596) and now accepted as by Bagnacavallo junior (inv. no. 541). The same copyist may have been responsible for the drawing of St. Paul Raising Patroclus after Antonio Campi (D01849).

Martyrdom of St. Laurence
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
Martyrdom of St. Laurence
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

The composition resembles in reverse the lower half of Cambiaso´s great altarpiece in the monastery of San Lorenzo, El Escorial (now Sala de Capas), painted in Genoa and dispatched in 1581, two years before the artist himself transferred to Spain as court painter to Philip II. The altarpiece did not remain for long over the high altar of the basilica, being substituted at some point between 1586

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