Christ Bearing the Cross mid-17th century Ferdinando Tacca Italian This may be the finest surviving example of the plaque. The elastic poses, the use of stippling to define details such as clouds and turf, and the ruddy translucent lacquer all justify Anthony Radcliffe’s inclusion of the model among lesser works by Ferdinando Tacca.[1] Inferior examples are paired with equally unevenly cast representations of a scene from the Flight into Egypt in the Minneapolis Institute of Arts; the Spencer Museum of Art, University of Kansas, Lawrence; and the Wernher Collection at Luton Hoo.[2] Even at the

Christ Bearing the Cross mid-17th century Ferdinando Tacca Italian This may be the finest surviving example of the plaque. The elastic poses, the use of stippling to define details such as clouds and turf, and the ruddy translucent lacquer all justify Anthony Radcliffe’s inclusion of the model among lesser works by Ferdinando Tacca.[1] Inferior examples are paired with equally unevenly cast representations of a scene from the Flight into Egypt in the Minneapolis Institute of Arts; the Spencer Museum of Art, University of Kansas, Lawrence; and the Wernher Collection at Luton Hoo.[2] Even at their best, as here, the plaques do not suggest the atmospheric breadth achieved in Tacca’s masterpiece in relief, The Martyrdom of Saint Stephen, in Santo Stefano al Ponte, Florence,[3] and are probably to be dated somewhat earlier.[James D. Draper, 1984]Footnotes:[1] A. Radcliffe, “Ferdinando Tacca, the Missing Link in Florentine Baroque Bronzes,” in Kunt des Barock in der Toskana: Studien zur Kunst unter den letzten Medici, Munich, 1976, p. 20.[2] Ibid., p. 23 , for bibliography and further details.[3] Ibid., figs. 1, 3–4, a work of Christ Bearing the Cross. Ferdinando Tacca (Italian, Florence 1619–1686 Florence). Italian, Florence. mid-17th century. Bronze, with red-brown lacquer patina. Sculpture-Bronze

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