Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 90-91.(Budapest, 1999)

VARGA, LÍVIA: The Reconsideration of the Portrait Reliefs of King Matthias Corvinus (1458-1490), and Queen Beatrix of Aragon (1476-1508)

relatively well documented and whose style seems to fit into this category: Giovanni Dalmata.

47 It is thought, that he probably learned his profession from his Dalmatian father. In the early 1460s he is known to have been in Rome where, in the second half of the decade, he participated in making funerary monuments.

48 At the end of the 1460s he worked at Vicovaro, near Tivoli, where he was responsible for the sculptural decoration of the west portal of S. Giacomo, and around this time also carved the "Madonna della Palla

,, altar in Umbrian Norcia.

49 From the early 1470s he was again in Rome, and worked for the Venetian Barbo family in the papal court. He made funerary monuments, and by the mid-1470s, was well traveled and knowledgeable about contemporary trends. It was then that he worked side by side with the Florentine Mino da Fiesole on the funerary monuments of Pope Paul II, the most ambitious contemporary work of its kind.

50 Giovanni Dalmata was invited to work for King Matthias sometime in the early 1480s,

51 and it is believed that he left the country upon the king's death. He was considered in Buda to be a sculptor of excellence, whose artistic qualities matched the status of his magnificus patron, and who, through his art, increased the glory not only of the king, but of the entire country.

52 Matthias ennobled him, and in the so-called "Dalmata deed of gift" of 1488, his artistic qualities were praised in unusually warm 47 Kukuljevic Sakcinski, I., Leben südslavisher Künstler, Agram, 1868; Tschudi, v. H., Giovanni Dalmata, Jahrbuch der königlich preussischen Kunstsammlungen 4 (1883) pp. 169-190; Fabriczy, v. C., Giovanni Dalmata. Neues zum Leben und Werke des Meisters, Jahrbuch der königlich preussischen Kunstsammlungen 22 (1901) pp. 224-252; Schottmüller, F., Giovanni Dalmata, Allgemeines Lexikon der Bildenden Künstler, 8, Leipzig 1913, pp. 303-304; Seymour Jr., Ch., Sculpture in Italy, 1400-1500, Pelican History of Art, Harmondsworth 1966, pp. 156-160; Prijatelj, K.Jvan Duknovic, Zagreb 1957; Balogh, J., Iohannes Duknovich deTragurio. Giovanni Dalmata, Acta Históriáé Artium 7 ( 1961 ) pp. 51-78.; Mikó, Á., All'antica müvek és alkotóik Budán és Zágrábban Mátyás király és a Jagellók idején 1480-1526 (All'Antica Works and their Authors in Buda and Zagreb During the Reign of Matthias and the Jagcllos, 1480-1526), in Horvátország és Magyarország. Évszázados irodalmi és képzőművészeti kapcsolatok, ed. J. Damjanov, Zagrab 1995, pp. 315-322; Roll, J., Giovanni Dalmata, Römische Studien der Bibliotheca Hertziana, 10, Worms 1994. 48 He worked on the funerary monument of Cardinal Tebaldi (t 1466), Rome, S. M. sopra Minerva, where the effigy of the cardinal is considered to be by his hand. 49 Cordella, R., Un opera inedita di Giovanni Dalmata, Acta Históriáé Artium 27 (1981) pp. 233-246; Idem, Aggiunta all'articolo "Un'opera inedita di Giovanni Dalmata", Acta Históriáé Artium 28 (1982) pp. 263. 50 Giovanni Dalmata was acquainted with Florentine art. Though there is no documentary evidence about his stay in Florence, he must have known the Roman works of such Florentine artists as Alberti and Bernardo Rossellino, who planned the Borgo, Fra Angelico, who painted the Nicolas chapel in the Vatican Palace, and Donatello and Filarete, who made the bronze doors of S. Pictro; see Seymour, op. cit. (n. 47) p. 156-160; Weiss, R., Un umanista Veneziano: Papa Palo 11. Roma 1958; Zander, G., La possibile ricomposizione del monumento sepolcrale di Paolo IL, Atti della Pontifica Accademia Romana di Archeológia, série III, vols. 45-46 (1982-1984) pp. 175-243; Negri Arnoldi, F., Il Monumento sepolcrale di Paolo II., in Roma 1300-1875, L 'arte degli Anni Santi, a cura di M. Fagiolo, M. L. Madonna. Exhibition Catalogue, Palazzo Vcnezia, Roma 1984; Roll, op. cit. (n. 47) pp. 60-65. 51 According to Jolán Balogh he arrived in Hungary in the mid-1490s. Her reason for suggesting this date is her late dating of Paul II 's funerary monument, which is by now completely untenable. 52 Feuer-Tóth, op. cit. (Writings n. 31) pp. 27-58; Ibid., op. cit. (Art and Humanism n. 31)