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)

time of execution the first years of the 1490s, when the Beatrix relief was also made.

64 Further research will hopefully lead to the identification of the commissioner and the original placement of his tombstone. A characteristic of Giovanni Dalmata's works, and a feature which he shares with Andrea Bregno, is his liking for architectural frames with which he surrounds his fig46. Detail of the Beatrix relief ure

s. At the Same time, frames do not signify strict boundaries, and they are almost always crossed over. This is a feature he might have learned from Mino, who often employed such details.

63 On the signed works previously cited, hair and drapery and feet reach out equally beyond the frames. Comparable details occur also on the Resurrection reliefs, and also on the Budapest relief where the oak wreath extends onto the frame at the top (fig. 26). On the basis of the above-mentioned common details on the Matthias relief, and on the works signed by and attributed to Giovanni Dalmata, a convincing argument can be made for his authorship of the royal portraits. Balogh dated the works between 148590, that is before the death of the king in the Spring of 1490. Although for King Matthias's portrait relief the circa1490 date can be accepted as a terminus ante quern, remembering that in 1571, before sending the works to Vienna, the bishop of Csanád, Gergely Bornemissza, emphasized and assured the emperor Maximilian, that they were said to have been made after nature and were, indeed, the true images of the royal couple,

66 64 Csernyánszky, M., Magyar reneszánsz főpapok olasz hímzésű miseruhában (Hungarian Renaissance Prelates on Italian Woven Chasubles), Művészettörténeti Értesítő 34 (1985) pp. 145-149. Csernyánszky docs not accept the early sixteenth-century dating of the fragment suggested by Zolnay, and believes that the motifs which occur on the cross of the chasuble are of a later date. As a consequence the tombstone could not, in her opinion, have been carved earlier than the 1520s. The author attributes this late date to our fragment based on similar motifs found on the tombstones of Hungarian prelates. However the source of these motifs is not in textile arts but in the relief sculpture. Already in the early 1460s in Rome they occur on the works of sculptors close to Giovanni Dalmata. See Varga, L., The sculptures of Giovanni Dalmata. (Forthcoming) 65 Valentiner, W. R.. Mino da Fiesole, The Art Quarterly 7 ( 1944) pp. 151-180; Sciolla, G, La scultura di Mino da Fiesole, Torino, 1970; Lavagnino, E., Andrea Bregno e la sua bottega, L'Arte 27 (1924) pp. 247 263; Egger, H., Beiträge zur Andrea Bregno Forschung, Festschrift für Julius Schlosser zum 60. Geburtstag, Zurich - Leipzig - Vienna 1927, pp. 13-137; Sciolla, G.C., Profilo di Andrea Bregno, Arte Lombarda 15 (1970) pp. 52-58. 66 Thallóczy, op. cit. (n. 4) pp. 40-143.