Luca Della Robbia – Works In Berlin And Paris


No. 113.-Unglazed pointed lunette. This is of terra-cotta, but neither glazed nor coloured, and no doubt it was never completed. Notwithstanding the authority of recent writers, it is with the greatest reserve that we must attribute any of the ” stuccos” of the Berlin Museum to Luca della Robbia.

No. 114.-A Madonna very similar to the Madonna of the Bronze Gates. Two monks are on each side of the Virgin, and above two angels are holding a drapery.

No. 115.-Madonna sitting on a bench, with the Holy Infant. On each side two angels are playing the lute. The angels have much in common with the figures in the ” Cantoria.”

No. 116.-The Virgin holding in her arms the Infant Saviour. Very similar to the Madonna in the Bargello at Florence.

No. 116b.-An oval. Madonna holding the Holy Child in her arms. Above two cherub heads on each side.

Two small Madonnas, with Infant Saviours.

A “Pietà,” in which Dr. Bode finds much in common with the Christ of the Federighi tomb.

A very small Madonna, which has a certain similarity to other Madonnas of Luca.

Collection of Herr Adolfo von Beckerath in Berlin.—A replica of the unglazed Madonna and Child in a niche of the South Kensington Museum. Also an example of the Madonna, Child, and six angels.


No. 2792.—A large circular medallion. The Virgin kneeling, adoring the Infant Christ. On each side of the Virgin, angels hovering in the clouds holding hands. A frame formed of cherub heads, and a large garland of fruit and flowers. The figures are white on blue ground. Traces of gold on the vestments of the Madonna, the angels, and the heads of the cherubs.

No. 2793.—A large circular medallion, representing “Temperance” by a half figure of a woman pouring a liquid from one cup into another. Surrounded by a garland of fruit. The figure is enamelled in white on a blue ground.

No 2794.—A large circular medallion — “Justice” according to some, and “Faith” according to others. In one hand the figure under the garb of a winged angel holds a ball, and in the other a sword. It is enwreathed in a frame of fruit and flowers. The figure is white on a blue ground.

There are no documents to prove whence these last two medallions came, but they must certainly have been originally the decoration of some chapel.

No. 2795.—Bust of a young man. White enamel on a blue background.

No. 2796.-The Virgin standing holding in her arms the Infant Saviour, who is leaning on His Mother’s shoulder. The figures are white on blue background.

No. 2797. — An angel. The vestments only are in glazed enamel.


The Spitzer medallion.—Formerly in the Spitzer collection, and purchased by the Louvre. This is a copy from the same original as the Oxford medallion, but it is in a better state of preservation. The whole monument seems to have been repainted.

Medallion of the Madonna and Child with six Angels. M. Marcel Reymond rejects the attribution of this , medallion to Luca, while Dr. Bode clearly sees in it his hand. Professor Allan Marquand observes in it Luca’s spirit and feeling, and though there exist five known impressions of this medallion he does not think that the composition is a forgery, and believes it to belong to an early period of Luca della Robbia.

Stucco relief of the Madonna and Child with four Saints.—This represents the Madonna and Child with S. John the Baptist, S. Francis, S. Peter, and S. Dominic. It has been suggested that this ” stucco ” represents one of the panels of the altar begun by Luca della Robbia for the chapel of S. Peter in the Cathedral of Florence.

Madonna and draped Child.—It is probable that this copy of the oval in the Berlin Museum was made in Andrea’s atelier.


Medallion of the adoring Virgin with four angels.—Mr. Allan Marquand, who has so closely studied this production of the great master, declares it to have-all the charm of Luca’s best work, though the frame is decidedly by a later hand.


possesses a copy of the medallion of the Madonna and six angels in the Louvre.


possessed till a few years ago a relief of the Madonna and Child considered as a genuine work of Luca della Robbia.


possesses a relief attributed to Luca della Robbia.


There was on view at Milan, at the Industrial Exhibition in 1875, a Madonna attributed to Luca della Robbia, which the Marchesa Arconati-Visconti took to Paris after her husband’s death.


possesses a glazed Madonna and Child in a niche. This lovely relief represents the Madonna with the Child, folding His arms round her neck. In all its characteristics it is indicative of Luca’s early manner.