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
generation after Ferdinando Tacca, drew another boar hunt scene similar to the Budapest statuette (fig. 45). 42 But it was not only the hunts that could have inspired the bronze statuettes, but also the animal tournaments, which were also popular in Florence and were organised in the Tuscan town at almost every important celebration. 43 In 1584, at the wedding of Eleonóra dei Medici and Vincenzo Gonzaga, a bullfight and "Giuoco del Calcio", the predecessor to todays football matches were performed at the Piazza Santa Croce. 44 Moreover, five years later, in 1589, during a two-week-long pageantry organised for the occasion of the wedding of Grand Duke Ferdinand I and Christine of Lorraine, animal tournaments and the procession of the relics of Saint Anthony harmonically appeared side by side. 45 In 1602, at the reception of Cardinal Dal Monte, a real lion hunt was organised in the city's main square. 46 At these festivities, in order to enhance the exotic effect, the participants often wore the Oriental or Turkish apparel also visible on the bronze statuettes. 47 Alongside the aristocratic hunts, the artists also drew their inspiration from these artificial animal tournaments. Their contemporaries did not consider such bloody entertainment as barbaric in the least; on the contrary, by way of Pliny, they held it to be the direct revival of the animal tournaments of antiquity. The hunting depictions, thus, return directly to antique archetypes. The reliefs of the Roman sarcophagi are often decorated with hunting scenes of horseman armed with lances. 48 The famous small bronzes of Antonio Susini, which portray a lion attacking a horse, also derive directly from an antique marble statue. 49 Therefore, Anthea Brook reasonably postulated that the depictions of equestrian hunts in Florence could have developed from Susini's bronze statuettes based on antique archetypes. 50 Following the antique marble statue preserved in Rome, several versions of the scene were produced of a lion or a leopard attacking a bull. 51 42 Giovanni Battista Foggini, Boar Hunt, Florence, Uffizi, Gabinetto Disegni e Stampe, inv. no. 8027, fol. 169; see K. Lankheit,"Il giornale del Foggini," Rivista d'Arte no. 34 (1959), 108; L. Monaci, "Alcuni disegni giovanili di Giovan Battista Foggini," in Kunst des Barock in der Toskana, ed. Italienische Forschungen des Kunsthistorischen Institutes in Florenz, vol. 3, no. 9, Munich 1976, 27-28. 43 Feste e Apparati Medicei da Cosimo I a Cosimo II: Mostra di disegni e incisioni, eds. G. G. Bertelà and A. P. Tofani, Florence 1969. 14 Ibid., 204. 45 Ibid., 206. 46 Ibid., 209. 4/ Ibid., 195-233; Die Pracht der Medici, Florenz und Europa, eds. C. Acidini Luchinat and M. Sealini, Munich, Vienna and Blois, 1998-1999, cat. 79. 48 Ph. P. Bober and R. Rubinstein, Renaissance Artists and Antique Sculpture, London 1986, 232, cat. 21, 111, 113, 182, 199. 49 Rome, Museo Nuovo, Campidoglio; Cf. Avery and Radcliffe (n. 18), cat. 170; C. Avery, Giambologna: The Complete Sculpture, Oxford 1987, cat. 139-40; Radcliffe, op. cit. (n. 16), cat. 10. 50 Brook, op. cit. 1986 (n. 3), cat. 4.39. 51 Avery, op. cit. (n. 49), cat. 141; Avery and Radcliffe, op. cit. (n. 18), cat. 171-74.
