A FOOTED DISH, URBINO OR DUCHY OF URBINO, HALF 16TH CENTURY RISER, URBINO OR DUCHY OF URBINO, HALF 16TH CENTURY majolica painted in polychrome cobalt blue, green, yellow, orange yellow, manganese brown, tin white, diam. cm 26,8, foot diameter (cut out) cm 10, h. cm 4 Comparative literature T. Wilson, The Golden Age of Italian Maiolica Painting. Catalogue of a private collection, Turin 2018, p. 338 no. 147 The majolica riser has a plain base with a raised rim and a short, rounded edge, and originally rested on a probably tall, slightly flared foot applied during firing, now missing and removed perhaps to place the work in a frame. The recto is entirely covered with an historiated decoration narrating the episode of the flagellation of Christ. On the verso a single yellow line lists the border. Jesus is tied to the column and undergoes flagellation by two figures armed with rods. The scene is set in a portico with marbled marble columns, against the backdrop of a vast square surrounded by buildings with domes and arched porticoes, while in the distance a tall circular tower can be glimpsed. The painter, who was inspired by Bernard Salomon's woodcut of 1554, first published in Italian in Lyon in 1559 in the volume Figure del nuovo testamento illustrate da versi vulgari italiani , leaves room for the architecture, which he does not always interpret correctly, but also devotes great care to the realisation of the characters. Christ, who wears a single loincloth tied around his waist in a deep green colour, holds his head high while the two tormentors rage, one wearing a blue tunic highlighted in yellow and the other wearing a lorica and a Phrygian hat and green shoes. The colouristic element is predominant and helps to make the figures stand out from the background. An interesting example of comparison is provided by a plate held in a private collection, recently published by Timothy Wilson, with a similar scene, but painted according to the canons of Gironimo Tommasi in Lyon, which is distinguished by its architecture and very personal way of painting the figures. Here, on the other hand, the painter uses decisively Urbino methods, which come close to certain stylistic outcomes of mid-century works in terms of pictorial skill, colourism and proportions, elements that lead us to consider the work not to be a workshop work, and therefore worthy of further investigation.