both figures heavily draped and standing on green glazed bases, Faith holding a gilt chalice (bowl lacking) and with gilt halo, Hope with her hands drawn together in prayer and with traces of gilding remaining, each with oval apertures on the reverse suggesting an attachment to a niche or wall.

G. Gentilini, I Della Robbia. La scultura invetriata nel Rinascimento, Milan, 1992, pp. 400, 433, 447 n.27 (illustration of Faith)
J. Sisk, "Benedetto Buglioni" in Italian Sculpture from the Gothic to the Baroque, Salander-O'Reilly Galleries, New York, 2002, pp.ꦑ 102-105.

RELATED LITERATURE
G. Gentilini, I Della Robbia e l' "arte nuova" della scultura invetriata, (exh. cat.), Fiesole, 29 May- 1 Novembe⛎r, 1998, pp.350-51.

Benedetto Buglioni (1459/60-1521) was the son of a sculptor and probably the pupil of Andrea del Verrocchio. As an assistant to Andrea della Robbia, he learned the secrets to making glazed terracotta sculpture, developed by Andrea's uncle Luca della Robbia in the early 1440s. In the 1480s Buglioni  became the della Robbia's closest competitor by openin🌃g his own shop and by 1500, his workshop produced glazed terracottas, some with naturalistic coloring🔯.

His first documented work, now lost, was a relief of the Resurrection for the church of Santissima Annunziata in Florence. Among many other commissions, he executed works for the sanctuary Santa C🌱ristina in Bolsena, notably the stone facade, the effigy on the saint's tomb and a large tabernacle.