SCODELLA, RIMINI OR LYON, 1580-1620 CIRCA in polychrome painted majolica; on the verso the inscription La rouina del tempio per segnali Reuela a, suoi discepoli 'l Signore; diam. cm 24.7, h. cm 3.5 A BOWL, RIMINI OR LYON, CIRCA 1580-1620 Comparative bibliography J. Lessmann, Italienische Majolika. Katakog der Sammlung, Brunswick 1979, p. 227 n. 239; T. Wilson, The Golden Age of Italian Maiolica Painting, Turin 2019, p. 338 n. 147; R. Gresta, O. Delucca, La ceramica a Rimini nel Cinquecento. Maioliche istoriate e documenti d'archivio, Misano Adriatico 2020, pp. 166-167 n. 64 The bowl-shaped dish shows a wide and deep cavetto with a horizontal brim, painted in polychrome over the entire surface with a sacred scene. In the centre Jesus in dialogue with his disciples points to the square of a city, which can be glimpsed in the background high and turreted, on the right a circular temple. On the reverse side in cursive characters with a fast stroke we read La rouina del tempio per segnali Reuela a, suoi discepoli 'l Signore, to indicate the evangelical episode of the prediction of the destruction of the temple by Jesus. The author of the plate reworks the probable engraving source, for now unidentified (Bernard Salamon?He also seems to be familiar with engravings that use architectural perspectives, which he knows how to render fully, with arched roofs in which he emphasises the tiles or in the small round temple in which he creates the windows and arches with confident orange strokes. The work, which can be compared to some of the plates from the Adriatic area leading from Urbino to Venice, of which there are many examples in the collections of German museums, has in our opinion a great affinity with some French works, and in particular with a recently published large plate, attributed to the Urbino period of the career of an itinerant painter who was active in Lyon from 1585. This plate depicts the flagellation of Christ and shows stylistic affinities especially in the rendering of the somatic features of the faces of the bearded characters, but also in minor details such as the feet of Christ or the fingers of the hands, not always successful, sometimes pointed. The architectures outlined with faster strokes in our plate show satisfactory analogies, which we also find in the very personal way of outlining the small stones of the pavement with quick touches of tin white. The same stylistic methods can also be seen in the dish, also with the foot filed down, preserved in the Louvre Museum (inv. no. OA 6428), in which we find very similar somatic characteristics in the rendering of the faces with hollow cheeks with emphasised cheekbones and eyes with close-set eyebrows, similar architecture as well as the rendering of the pebbles on the pavement. This dish, already attributed by Giacomotti to Italy or Lyon, has recently been associated with the Rimini workshops.