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

45. Giovanni Battista Foggini: The Hunt of Calydonian Boar. Florence, Uffizi, Gabinetto Disegni e Stampe have been executed in the Grand Ducal workshop in the Borgo Pinti, and are probably the works of Damiano Cappelli s hand, who signed the Paris series.

39 Not many bronze statuettes representing hunting scenes from the seventeenth century have survived, albeit the subject of hunting was highly popular among the artists and their commissioners in the Italy of the era. In Anthony Radcliffe's opinion, Ferdinando Tacca might have seen bullfights during his journey to Spain in 1640, and this experience could have inspired his bronze statuettes.

40 The conception of the hunting scenes, on the other hand, could have been derived also from the hunts which were fashionable in the Medici Court. Stefano della Bella (1610-1664), a draughtsman and etcher contemporary of Ferdinando Tacca, engraved an entire series of hunting scenes on the commission of the Medici Family. While precise analogies to the Budapest small bronzes do not emerge in the drawings and engravings of Stefano della Bella, he did depict a number of hunting groups chasing a wild boar or a stag.

41 In his sketchbook, Giovanni Battista Foggini, sculptor of the next 39 Anthea Brook, who wrote a Ph.D. dissertation on Ferdinando Tacca (see n. 24), somewhat altered her former hypothesis, and today she is inclined to believe that the hunting scenes of Budapest are the original works of Damiano Cappelli. Correspondence with Anthea Brook. 40 Radcliffe, op. cit. (n. 16), 108-9. 41 Stefano della Bella: 1610-1664, ed. C. Joubert, Caen, Musée des Beaux-Arts 1998, cat. 40.