Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 100. (Budapest, 2004)

URBACH, ZSUZSA: Ein flämischer ikonographischer Bildtypus im italienischen Quattrocento. Bemerkungen zur Studie von Éva Eszláry

ously written a study on Fanelli, categorically doubted the attribution of the Budapest small bronzes to him precisely because of the evident stylistic differences between the statuettes.

15 Fanelli's statuettes are of considerably lower quality than the Budapest small bronzes: the details are treated less precisely, as, for instance, the mane of the horse or the tufts of hair of the Cupid on Horseback, which simply blend into the bronze surface. This kind of modelling stands in stark contrast to the Budapest hunting scenes. The master of the Budapest statues stylises, but by no means neglects the details in their execution. Moreover, Fanelli's bronze statuettes are considerably smaller than the Budapest ones.

16 On the basis of their styles, the two Budapest small bronzes can hardly be assumed to be the works of Francesco Fanelli. The Fanelli attribution, furthermore, is brought into question not only by the differences in style and quality, but also by the numerous versions of the Budapest statuettes that have emerged in recent years. On a grand-scale exhibition in 1986 in the Florentine Palazzo Strozzi that displayed the seventeenth-century art of the city, the statuette that is the pair to the Budapest Horseman Killing a Bull, today in the Collection of the American Robert H. Smith, was also on view.

17 An identical rearing bronze horse is also preserved in the Bolognese Museo Civico.

18 In its composition, as well as in its treatment of the material, the Bolognese horse manifests a close relation to the many bronze equestrian statuettes of Pietro Tacca (1577-1640), father of Ferdinando Tacca (1619-1686). In 1978, therefore, Katharine Watson already postulated that Ferdinando Tacca further developed his father's models; consequently he could have done the Bolognese bronze statuette.

19 In 1986, Anthea Brook, the author of the Horseman Killing a Bull article in the Florentine catalogue, taking Katharine Watson's train of thought as her point of departure, determined the American statue and the two Budapest ones to be the works of the Florentine Ferdinando Tacca. Here Anthea Brook also considers the nearly threedimensional rearing horse of the antependium relief in the Santo Stefano al Ponte in Florence, which was surely executed by Ferdinando Tacca, as a further close analogy.

20 Ferdinando Tacca is the son of Pietro Tacca, the director of the Florentine GrandDucal bronze foundry. Pietro Tacca was apprenticed in the workshop of the famous 15 Pope-Henessy, op. cit. (n. 1), 475. 16 Ibid.; A. Radcliffe, Bronzes 1500-1600: Robert H. Smith Collection, London 1994, 104. 17 Horseman Killing a Bull, bronze, height: 34 cm. In 1986 the statuette was in the collection of Daniel Katz in London, see Cat. Florence (n. 3), cat. 4.39; from there it went to the Robert H. Smith Collection in 1992, see Radcliffe, op. cit. (n. 16), cat. 18. 18 On the Bolognese small bronze, see Giambologna: Ein Wendepunkt der europäischen Plastik, eds. C. Avery and A. Radcliffe, Vienna, Kunsthistorishes Museum 1978, cat. 167; Cat. Florence (n. 3), cat. 4.40. 19 Avery and Radcliffe, op. cit., cat. 163, 167. 20 Cat. Florence (n. 3), cat. 4.39.