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)

reason to believe that in her case the veil would not indicate widowhood. Consequently it is most likely that Giovanni Dalmata first finished Matthias' portrait. Upon the death of the king, he would then have made the queen's relief according to the original design, while quasi updating it with the representation of the veil and thereby reflecting her widowed status. Previously, it has been almost unanimously accepted

70 that Giovanni Dalmata left the country immediately after the death of the king. This belief is based on Ludovicus Tubero's notes made between 1490-1522, in which the author mentioned that Dalmata's castle at Majkovecz on the river Száva, which he received from King Matthias as a reward for his artistic achievements, was taken away from him after the king died. While sometime after the king's decease the castle, indeed, became the property of Mate of Várad (Adorján), who sold it in 1498, there is no indication when it first came into his possession.

71 For many scholars Tubero's note also suggested that Dalmata left the country upon Matthias'death, and this, Tubero never stated. It has also been generally assumed, that Dalmata went from Hungary to Italy. In fact, we have no idea where he went after leaving Hungary. A document of 1498, issued in Venice in connection with the altar of the Scuola Grande di S. Giorgio, mentions a "Johanne de Stano da Trau", has been identified by some with Giovanni Dalmata, but this identification rests on shaky grounds.

72 On the other hand, the portrait bust of Carlo Zeno and the Madonna relief in Padova are both related stylistically to the Beatrix relief, and show Dalmata's late style. These two works do suggest that Giovanni Dalmata, indeed, worked in Venice sometime around the mid-1490s. Another charter testifies that he was in Trau (Trogir) by 149 7.

73 The representation of the veil on the Beatrix relief would nevertheless suggest that Dalmata continued to work in Hungary after Matthias's death, if only for a few years. Beatrix's relief portrait together with the above-mentioned tombstone fragment may well be considered the master's two last works made in Hungary. The arts have served imperial or royal interests since Antiquity, and they were to serve King Matthias' political propaganda as well, as he sought to justify and define his position as the legitimate ruler of Hungary. These portrait reliefs were no exceptions and could have served the same purpose, had the early and unexpected death of the king not prevented it. Only later did the royal portrait fulfil the original expectations when, over the centuries, it successfully conveyed to further generations the image of a noble hearted, righteous King Matthias. In this way, indeed, the relief contributed to the formation of our positive image concerning Matthias. Besides its esthetic values, the portrait of the king may be considered the carrier of a well-defined political meaning. LÍVIA VARGA 70 Only Roll expressed his doubts in his above mentioned monograph, 1990. pp. 130-132. 71 Csánki, D., Kőrösmegye a XV. században, Budapest 1893, p. 38. 72 Paoletti, P., L ' architettura e la scultura del Rinascimento in Venezia, 2, Venezia 1897, p. 177, 105, no. 78. It is more uncertain than not that this charter contains the name of Dalmata, since he was always called Duknovich da Trau (see Balogh, op. cit. n. 2. I, p. 492). 73 10. February 1497. (see Balogh, op. cit. n. 2. I, p. 492).