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

One of these bronze statuettes is of some interest from the point of view of the Budapest Horseman Killing a Bull. A leopard attacking a bull in Vaduz, in the Liechtenstein Collection, does not follow the customary composition of Antonio Susini.

52 Contrary to the widespread version of depiction, the bull does not lie, but is just about to collapse, similarly to the American, the Budapest and the Paris Horseman Killing a Bull statues. The bull of Vaduz, hence, is an analogous representation of the just mentioned bronze statuettes. The small bronzes depicting the equestrian hunt or the lions attacking a bull or a horse, thus, must have served as mutual influences. To be able to date the Budapest statuettes, only the small deviations in the variants of the remaining bronze statuettes can help us. Indicated by the static style of the horseman, the Horseman Killing a Bull in the Robert H. Smith Collection could have been cast around 1650, according to Anthony Radcliffe.

53 Compared to the American bronze statuette, the Horseman Killinga Bull and the Horseman Pursuing a Boar of Budapest - just as the Paris series of four bronzes - are definitely more dynamic. Thus, these were presumably made later than the ones in the Robert H. Smith Collection, conceivably in the second half of the seventeenth century. If Radcliffe's assumption that Damiano Cappelli started to sign his works only after his master's death is true, then the statues of the Paris set must have been executed between 1686 and 1688, within the two and a half years between the death of Ferdinando Tacca and Damiano Cappelli.

54 The more animated modelling of the Paris statuettes strengthens this supposition. The dynamic treatment of the bronze surface already points ahead explicitly to the style of later Florentine statues, like the small bronzes of Giovanni Battista Foggini.

55 Because the composition and the style of the two Budapest hunting statues have the closest connection to the Parisian bronze statuettes among all the known versions of this subject, the Budapest bronze statuettes must have been cast in the 1680s, perhaps a few years before the Paris ones. Therefore, it is reasonable to assume that the Horseman Killing a Bull and Horseman Pursuing a Boar in the Budapest Museum of Fine Arts are likely to appertain to Damiano Cappelli's sequence of late bronze statuettes from the 1680s. MIRIAM SZŐCS Translated by Zsófia Borókay 52 Ibid., cat. 173 c. 53 Radcliffe, op. cit. (n. 16), cat. 18. 54 Cf. n. 37. 55 Cf. Lankheit, op. cit. (n. 3), 47-109, figs. 112, 118-27.