Matthias Corvinus, the King Tradition and Renewal in the Hungarian Royal Court 1458-1490 Exhibition catalogue Budapest History Museum 19 March 2008-30 June 2008 Budapest, 2008 PUBLISHED BY THE BUDAPEST HISTOR Y MUSEUM Editors PÉTER FARBAKY, ENIKO SPEKNER, KATALIN SZENDE, ANDRAS VÉGH Editor and chief reviser of the English text N ICHOLAS BODOCZKY Translation MAN CAMPBELL, jUDIT POKOLY KATERINA HORNlèKovA, KATALIN SZENDE Further proofì-eading MISON LUCHS, ORSOL YA RÉTHEL YI Indices SZABOLCS SERFOZO ©New photographs ÀGNES BAKOS, BENCE TlHANYI as well as GYÒRGY BOROS, ANDRAs DABASI, PÉTER FARBAKY, jOZSEF HAPAK, jAROSLAV HoRAK, DÉNEsjozsA, jUDIT KARDOS, STANISLAW KLlMEK, PÉTER KOM]ATHY, FRANTISEK KRE]èf, ATTilA MUDMK, OLDRICH PALISEK, SZILARD PAPP, ANDRAs RAzso, LA]OS ROKA, jOHANNES RÒLL, ROMAN STASIUK, jUDIT F. SZALATNYAY, ANDREAS WERNER © Maps: ZSUZSANNA KUCZOGI and BÉLA NAGY © Budapest Hist01Y Museum and the authors Typography and book design jANOS LENGYEL Typesetting W-PRESS Kft., ZSOLT WILHELEM Prepress GMN Repro Nyomdaipari Kft. Printing HTSAR T Nyomda Managing Director: IvAN HALAsz Front cover: The relief of Matthias Corvinus (Cat. 4.1) Vienna, Kunsthistolisches Museum Back cover: Matthias Corvinus' goblet, Rieti, Museo Diocesano (Cat. 9.23.a) Frontispiece: Matthias Corvinus' BibIe, VoI. III, Florence, Biblioteca Medicea Laurenziana (Cat. 4.9) ISBN 978-963-9340-69-5 Managing Publisher DR. SANDOR BODO GeneraI Director Francesco Cagliati G-regorio di Lorenzo of Florence, Sculptor to Matthias Corvinus Of the Italian altists enlivening the court of Matthias Corvinus with their activity, the FIorentine Gregorio di Lorenzo deserves distinguished attention. He spent nearly fifteen years (&om c. 1475 to 1490) in Buda and Visegrad as a marble and stone sculptor. His name did not come up in connection with Hungaly until 2003, although he was present in various studies on Matthias's age throughouthidden behind the universally accepted "Master of the Marble Madonnas" designation. Wilhelm Bode, the great researcher of Italian Renaissance sculpture active in the late nineteenth century, was first to realize that this designation concealed an artist ofhistorical reality, I but he wisely refrained &om endowing him with a concrete identity. On the basis of stylistic features, Bode pieced together an oeuvre of some twenty among the creators of the sepulchral monument of Luffo N umai in the Church of Santa Malia dei Servi in Forlì (Fig. 12). Some figurative details of this 1502 work, such as the Resurrection, the Nativity with shepherds and the t\:vo winged putti with the epitaph, are easily defined as belonging to the style of the "Master of the Marble Madonnas." The decorative elements, however, which reflect the overall development of early Cinquecento Italian sculpture, can in no way be reconciled with the ornaments of the l'est of the "Master's" works. Identification with Fiamberti marked a major departure fÌ'om Bode's criticaI approach in t\vo respects: by transfening the "Master" fì'om Tuscany to Lombardy and shifting him a generation later. This could be done because none of the other works-albeit numerous-reattributed to the "Master" sculptures, mostly marble Madonna reliefs (Fig. 2), and proposed in 1893 the nickname that stuck. In his view, these art \vorks were created by an ambitious but not outstanding FIorentine master active in the second half of the Quattrocento, who was attached by intriguing threads to Mino da Fiesole and Antonio Rossellino. It is no accident that the sculptures Bode gathered as a coherent oeuvre had been attributed formerly mostly to these two sculptors. 2 Bode's research led Karoly Pulszky in 1890 to find traces of the "Master" in Hungary and identify what has since been considered his most valuable Matthias-period work: a red marble lunette relief of the Madonna with Child, which, as Pulszky claimed, carne from the Palace Chapel in Visegrad (Madonna of Visegrad, Ca t. 11.4, Fig. 1). 3 Giacomo De Nicola's 1922 article went on to become the definitive guide to the "Master" in the literature. With hindsight, his study was a step backwards rather than forward ..J While De Nicola drew up a newer and larger inventory of the Master's works (which is almost wholly acceptable), he proposed to identify him with Tommaso Fiamberti from Lombardy. The sculptor Fiamberti, knO\vn to be active in Romagna between 1498 and 1525, was 1. GregOlio di Lorenzo, Madol/I/a l/li(1I Cllild (Madonna ofVisegrad), c. 1485-1490 (Ca t. 11.4) Esztergom, Keresztény Muzeum could be associated with any written source or any definite historical location. What might have cast special doubt on De Nicola's reconstruction is the Visegrad lunette; however, signifìcantly, the scholar had no knowledge of it. De Nicola's theory has been tremendously successful since 1922 to our days; it may take many more years to discard it altogether. The only twentieth-century scholar to attempt giving the artist an altogether different identity was Jolan Balogh in 1933. 5 While her argumentation was better founded than De Nicola's, she raised more questions than she could answer. Like De Nicola, she also took the sepulchre in Forlì as a point of departure. Balogh was light in noting that another monument of the same Luffo Numai in the San Francesco Church in Ravenna (1509) bearing the signature Thol/lae Fiall/berti sC/llptoris OpllS had ornaments consistent with the decoration in the Forlì tomb, but the figuraI inserts are wholly missing. Since the contract concerning the earlier funeraly monument mentions, in addition to Fiamberti, his colleague and compatliot Giovanni Ricci, one cannot help assuming, Balogh argues, that the figures in Forlì were carved by the latter, the actual "Master of the Marble Madonnas." This identifìcation, to which 8alogh adhered in subsequent decades,6 too, presumes an early sL'Cteenth-centmy Lombardian sculptor, without being able to explain the intimate correlation between several of his presumed works 129 I The anSVler to similar hard-to-crack puzzles \vas brought about by new attributions coupled with new archival researches fi:om 2000 onwards. These discoveties carne as the result of coincident efforts of scholars in Florence and Ferrara. The "Master's" touch was detected first of all on a monUluental \vork, a marble and stone lavavo in the anteroom of the sacristy of the Badia Fiesolana, made in 1461-1462, which is stili in its Oliginal pIace (Fig. 3).8 Documents, which had only partly been known since the end of the nineteenth century, revealed that its sculptor was Gregorio di Lorenzo ofFIorence. 9 In Ferrara, the "Master's" hand was identified on portraits of two ancient commanders, Agrippa (Fig. 9) and Antoninus Pius, which were the surviving items of a selies of twelve pieces. 1O Documents discovered as late as in 1997 prove their attlibution to Gregorio di Lorenzo and the date of 1472. By putting together this evidence it can be concluded that the "Master ofthe Marble Madonnas" is Gregorio, a FIorentine sculptor vvho has been knowll from wlitten sources as a pupil of Desiderio's." This identification was imn1ediately confnmed by the discovely of a FIorentine document which revealed that around 1475 Gregorio set out for Hungaly and was still there in 1480Y In light of the above and some additional new sources, Lì the biography of GregOlio can be reconstructed as follows. He was born around 1436 as the son of a shoemaker, Lorenzo di Jacopo di Mino. He Iearned sculpture from 2. Gregono di Lorenzo, lvIadolll/a IIlitl, Chi/d, c. 1465-1470, Florence, Museo Nazionale del Bargello and the best Florentine masters of the third quarter of the Quattrocento. Among these masters Balogh rightly singled out Desiderio da Settignano. This ought to have sounded the alalm, because Desiderio died in 1464, almost sixty years before the last mention of Giovanni Ricci (1523). Unlike De Nicola, Balogh naturally was aware of the Visegrad lunette, on the basis of which she extended the "Master's" scope of activity to King Matthias' service. In spite of that she thought that Giovanni Ricci, a pupil ofDesiderio's who later visited Hungary, lived in Romagna for a prolonged period of time at the beginning of the sixteenth centuty. She ignored the fact that after the Numai tomb and very few contemporaneous works in and around Forli, there is no trace whatsoever of the "Master's" style. Another problem, which Balogh also became aware of, was that during King Matthias' reign Giovanni Ricci's presence could be documented in Italy on several occasions. Consequently she was forced to hypothesize that the "Master" did not remaÌn pelmanently in the Hungarian court (albeit manifestations of his style point to the contrary), but travelled with 3. Gregorio di Lorenzo, .L1/Iauo, 146l-l462. Badia Fiesolana, Vesribule of the sacrisry unaccountable fi:equency between the two areas. 7 130 - -~_.: husband. The pertairung document reveals that around 1463 Gregorio had also worked for the hen1l..itage at Camaldoli, where a Virgin and Child and a tabernacle of the Eucharist by his hands are preserved to this day.16 Under the pressure offìnancial diffìculties, he left behind his wife and children and headed for Hungary to try his luck. He was stili living there in 1480 when his brother Jacopo set out to fìnd lum. It is not knmvn how long he stayed, but probably not much longer than Matthias' death (1490), since most of Greg01io's work in Hungaly was commissioned by the monarch. Several remains of the architectural sculpture of the royal palaces in Visegrad, and more importantly in Buda, can be associated \vith Greg01io's style to varying degrees. 17 Some are put on display in the exhibition (Cat. 11.4, 11.5, 11.6). Fragmentariness and a bad state of repair make it almost impossible to attribute them directly and conclusively to the "Master," but their style suggests that they were made by his pupils and collaborators. Comparison of these vestiges with ali the rest of the sinular fìnds of Buda and Visegrad reveals that in Matthias' court Gregorio became the main practitioner of the FIorentine Renaissance decorative tradition which started with Desiderio da Settignano. 18 Gregorio's arrivaI in Hungaly just as the monarch 4. Desiderio da Settignano, BIIsl t!lall Arislo{mli{ Lad)' (called "Marietta Strozzi"), c. 1455-1460. Berlin, Staa tliche Museen, Skulpturensammlung concluded a marriage agreement with Plincess Beatlice of Aragon arouses suspicion that the sculptor m,v ed his new patron to these diplomatic relations. The creation of the Desidelio (Fig. 4), in whose workshop he was documented in 1455. 1-1 In 1461 he enrolled in the guild of stone- and emperor portraits for the courts of Naples and Ferrara in wood-carvers (Arte dei iViaestri di Pietra e Legl/allle) and il11luediately aftenvards he created the lavabo in the Badia of Fiesole, paid by the Medici family. Around that time he probably married Piera, six years his junior, by whom he had at least three children: Nanna (c. 1463), Francesco (c. 1466-1467) and Lorenzo (c. 1473).15 Before 1469 he opened a workshop in the piazza of the Battistero. In J une 1472 he travelled to Naples, to hand over a Madonna and twelve marble emperor heads (portraits in profùe) probably to the court ofKing Ferdinand l (Ferrante) of Aragon . In October of the same year, he was paid for another t\velve-piece series of emperor portraits made for Ercole I d'Este, Duke of Ferrara. The duke had them placed in fi'ont of the Cathedral on the façade ofthe Rigobello (or Clock) tmver, which was destroyed in the late sixteenth century. Two reliefs are today in Casa Romei in Ferrara (Fig. 9), others are in museums and private collections just like a few pieces of the Naples series. In 1473, Gregorio turned up in Lucca in order to evaluate, together with Domenico Orsolini of Milan, Pietro da Noceto's sepulchre in the Cathedral, made by Matteo Civitali. Because the two parties failed to agree, arbitration was passed on to Antonio Rossellino. Around 1474-1475 5. Gregorio di Lorenzo, BIIsl ~ra/l Ar;slorral;{ Lad)', c. 1460-1465 . Berlll1, Staatliche Museen , SkulpturensJmmlung the sculptor became indebted to his sister Antonia and her 131 11 _ _ - - and Giovanni Ricci. It is highly possible that the t\vo men, renowned craftsmen of architectural decoration, employed GregOlio to create the figuraI elements. The FIorentine sculptor sketched them in his unmistakable style and executed them in marble, alone or with an unknown assistant. Another dated work of art bearing GregOlio's peculiar style is the baptismal font at Forlì Cathedral, dated 1504. Mter that his style disappeared from ali regions of the peninsula, so the "Ivlaster" nearing the age of seventy probably died in 1504 or soon aftenvards without leaving behind a vital artistic helitage. GregOlio's failure in his native city as a monumental sculptor, until the bankruptcy of his workshop (1475), explains his numerous travels and lengthy stays outside Florence and Tuscany , for instance in Campania, Romagna, Marche, Hungaly and Dahnatia. It also explains why , with a few exceptions, he exclusively turned out small-fOlmat works for inteliors. These are easy-to-cany marble and stone sculptures, but there are some terracotta and stucco works as weli: chiefly Virgill alld Child reliefs (Figs 1-2 and 7-8), and some portraits of ancient emperors (Fig. 9), Redeel/ler and lVIall oJ 50/"/"01/).\ busts (relief and sClllpture in the round), female portraits (relief and sculpture in the round, Fig. 5) , saCl·ed and profane busts of children, some carved in green Prato stone. This rich oeuvre was scattered v..ridely already during the Renaissance, even in Latium, Lunigiana, 6. Unkno",n sculptor (from a lost originaI by Donatello), Sicily. In the modern age, it kindled the interest of art Mado/l/la IlIith Chi/d ("M adonna Piccoloffilni"), c. 1460-1465 . Siena, Palazzo ChigI Saracini 1472 coincided with the marnage of Duke Ercole and Plincess Eleonora, Beatrice' elder sister and daughter of King Ferdinand. Moreover, a portrait of Duke Ercole in London has also turned out to be GregOlio's v,'ork (Fig. 10) . Thus, the courts of the Este and Aragon would serve as a stepping-stone to the Buda court. Mter Matthias' death, Gregorio probably spent ti me in Dalmatia before returning to Italy for good: tv.;o ofhis works known in the region ab alltiquo, one in Hreljin and one in Senj (Zengg), indeed bear the date of 1491. Some of his works nude for the Palazzo Ducale in Urbino, including first of ali the pedl/cci (splingers) of the vault of a room, can be dated to the early 1490s. In Febluary 1493 Gregorio was in Florence again and resumed paying his guild membership . His tax statement for 1495 does not mention any family members; in it, he claims to are living at a son-in-law's (perhaps Nanna's husband). After 1497 the keepers of the guild register no longer recorded him, believing him dead or emigrated for good. The latest marks ofhis style are found in Forlì. As seen above, he contributed to the Numai monument, which was oflìcialiy commissioned in 1502 7. Gregorio di Lorenzo, Mado/l/la IlIith CIii/d, c. 1465-1470, fì-om the younger Lombard sculptors, Tommaso Fiamberti London, Victona and Albert Museum 132 his best \~ T orks were created roughly between 1455 and 1475. The quality of works deteriorated as he grew older and employed assistants, lagging behind the competitive spirit and developments in Florence. In the past one and a half centuries, many ofGregorio's works changed repeatedly hands and places, prOlTIoting the emergence of enonnous bibliographies of art trade and museum collections. In the literature of this kind it often happens that separate pieces are taken for the same thing, and vice versa . I compiled the below catalogue-ordered by places and genres-with the intention of futering out such confusing factors and determining transfers between collections that were not clalified earlier. 20 j\1ar/olll/as: BERLlN, Staatliche Museen, Sculpture Collection (Skulpturensamnliung) [Bode-Museum] (two pieces); formerly BOLOGNA, Angiolini Collection, subsequently Rambaldi Collection; formerly BOLOGNA, Seracchioli Collection; BRlBLR (Vinodol, Dalmatia), Sv. Petar i Pavao Church; CACCAMO (PalenTIo), Church of Santa Malia degli Angeli (in a marble frame from Domenico Gagini's workshop); CAMALDOLl, Hermitage, Chiesa del Salvatore (Church of the Saviour); CAlVlBRIDGE (Mass.), Fogg Art Museum (formerly Volterra, Palazzo Inghirami); C At'ffiERRA, National Gallely of Australia (fonnerly New York, Thomas Fortune Ryan Collection); CASTEVOLI (Carrara), medieval neighbourhood; COLLE DI VAl D'ELSA, Quattro Canti (in a tabernacle); COLUtvlBIA (S. C.), Columbia Museum of Art, Kress Collection; FLORENCE, Church of Santo Stefano al Ponte; FLORENCE, Museo Nazionale del Bargello (in the O1iginal stone fì-ame, with coat of al-ms now deleted on the peduccio: Fig. 2); FLORENCE, Museo di Palazzo Davanzati (plaster; deposi t ofthe Museo del Bargello, Cat. 11.8); FLORENCE, Via Gino Capponi 5R; formerly FLORENCE, Stefano Bardini Collection (stucco) (photo: Kunsthist01isches Institut in Florenz [hereinafter: KHIF] 13965); formerly FLORENCE, Elia Volpi collection (stucco), 1910 auction; FLORENCE, plivate collection, 1962 (stucco, photo: KHIF 174572 [Fig. 8], connected to the marble relief in London's Victoria and Albert Museum collection, inv. no.: 109-1878); formerly FLORENCE, art trade (stucco) (photo: KHIF 13986); KANSAS CITY, Nelson-Atkins Museum of Art (formerly Imola, Palazzo Machirelli-dal Pozzo); LONDON, Courtauld Institute Galleries, GambierPany Collection; LONDON, Vict01ia and Albert Museum, three pieces (inv. nos.: 6737-1860, 7562-1861, 109-1878 [Fig. 7]); LONDON, Christie's auction, 17 Ap1il 2002 (formerly Firenze, Gagliardi Collection, sold in 1908; New York,John Piel-pont Morgan Collection; Monaco, Sotheby's auction, 14-15 June 198]); Los ANGELES, Los Angeles County Museum of Art (f01TI1erly Paris, Marcellot Collection); NEW YORK, Metropolitan Museum of Art, Havemeyer Collection (formerly Florence, Palazzo 8. GregOlio di Lorenzo, Mado/I/Ia 'l'iII, Chi/d, c. 1465-1470 . Florence, pnvate collection (1962) collectors and dealers on the one hand, and on the other, led research into a cul-de-sac, as mentioned earlier. Though having a unique style of artistic expression, Gregorio was not an inventive sculptor. His compositions, first of all his Madonnas, often took works by Donatello, Desidelio, Antonio Rossellino, Mino, Verrocchio or Francesco Ferrucci as their models: the Similality is sometimes so striking that it verges on copying. A typical example is one of the Madonnas kept in the Vict01ia and Albert Museum in London (Fig. 7, a plaster copy also survives, Fig. 8). It emulates the famous Piccolomini Madonna of Siena (Fig. 6), itself a marble copy of the old Donatello's-perhaps bronze-original. For the mature Gregorio his relationship with the Lucchese sculptor Matteo Civitali was decisive, with whom he was often mixed up in the last century. Throug~ Lucca, a town that maintained intensive trade and art links with Flanders, Gregorio might have acquired some experience of Flemish painting, which v,ras probably the basis for some of his particularly pathetic sacral compositions. ' 9 The catalogue of Greg01io's identified works, yet to be extended, contains about a hundred items. Not all are works by rus own hands; however, the difficulties facing the research focusing on the \vorkshop leader have so t1r prevented more accurate awibutions. The future task is to detennine Greg01io's styhstic chronology: so it seems that 133 I i 9. Gregono di Lorenzo, A,~r;pa) SOIl-;II-Lm/1 oJ AI/gl/stl/s, not later than 1472. Ferrara, Museo dl Casa Romei 10. Gregorio di Lorenzo, Portra;t oJ Ercole ~ ) Este.I! DI/ke c. 1472. London, Victoria and AlbertMuseul1l Bombicci-Pontelli); NEW YORK, Michael Hall Collection (photo: KHIF 80605); NEW YORK, art trade, 2001 (formerly Faenz~, Museo Guidi, and New York, Enrico Caruso Collection), with Ginori arms; NEW YORK, Canessa-sale in 1924 (Rome, Ferroni-sale in 1909); fOlmerly NEW YOIU<, John Mortimer Schiff Collection; OREBré (Dalmatia), Franciscan friary; OTTAWA, National Gallery of Canada (f01111erly Paris, Achille Seillière Collection), with Montefeltro blazon; PARIS, Musée du Louvre; PAR/S, Musée JacquemartAndré; PMIS, art trade, 2006 (formerly Charles Mège Collection); formerly PMIS, Alphonse Kann Collection; fOlmerJy P AR/S, plivate collection, 1886 (in the Oliginal stone (i'ame, with coat of arms on the peduccio); PISTOIA, Museo Civico (fi.'om the Church of San Lorenzo); ROCCA SAN CASCIANO (Forlì), Chm-ch of Santa Malia delle LaClime (terracotta); ROiVIE, Leonardo Vi tetti collection, 1959 (fototeca Zeri, Bologna, 144816), related to the marble relief in Palis, Louvre; SAlNTPETERSBURG, Elmitage (three pieces); SEN] (ZENGG, Dalmatia), Vlatkoviéevoj street 20.; URJ3/NO, Galleria Nazionale delle Marche (three pieces, one of which known in three stucco copies, one in Florence, Miselicordia); VENICE, collection of the Cini-heirs (tondo with antique wooden (i-ame, photo: KHIF 393214); VISEGRAD, MNM Matyas Kirily Mùzeum, lunette (Cat. 11 A, permanent deposit of Keresztény Mùzeum, Eszterg01l1, Fig. 1) with (i-agment of a putto holding a blazon and another making 1l1usic (Cat. 11.5-6, all three, including the previous ite1l1, formerly in the Royal Palace of Visegrid, Chapel); W ASHINGTON, National Gallery of Art, Kress Collection Oate-nineteenthcentury forgelY); fonnerly WORCESTER (Mass.), plivate collect1on (fototeca Zen, Bologna, 144931-144932)_ Rerleell/er and lÌlfal/ ~f SO/TO/P.' (Vi/' rlolo/'lllll) ulIsrs: BERLIN, Bode-Museul1l (relief, to which belongs a Virgin ofSor1'ows); BER1IN, Bode-Museum (sculpture in the round); BUDAPEST, Szépl1luvészeti Muzeum (relieO; CIVITA CASTELLANA (Viterbo), Rocca (high relieO; DOUAI, Musée de la Chartreuse (sculpture in the round); forl1lerly LONDON, Hei1l1 Gallely (sculpture in the round); PARIS, Musée ]acquel1lart-André, inv. nos.: 1989 and 2018 (I:\VO difIerent reliefs; there lS a painted plaster copy ofthe latter in fu11Sterdaln, Rijksl1lUSeU111); 134 - .... _~ (~r Ferrara, fonnerly PARIS, Alphonse Kann Collection (relieO; ROME, Museo Nazionale di Palazzo Venezia (relieO; PRAGUE, Narodni galerie (terracotta sculpture in the round); ROME, ) Ferroni-sale in 1909 (relief of painted stone). BlIsts oj tlle l/ifa Il tJes/ls O) and tlle i/ifal/I St JO/1II the Baptist (B): BUDAPEST, Szépmuvészeti Muzeum 0); FLORENCE, art trade, 2003 (B); KANSAS CITY, Nelson-Atkins Museum of Art (B); NEw YORK, Metropolitan Museum of Art, Blumenthal Collection (B); OXFORD, Ashmolean Museum, Fortnum Collection (B); URBINO, Galleria Nazionale delle Marche (B); WASHINGTON, National GallelY of Art (B). B/lsts oj cl1ildrel1 ltJitll allill/(//s, white marble (M) or green Prato stone (P): formerly BERLIN, Raymond Feist Collection (P); LONDON, Victoria and Albert Mllseum (t\vo pieces) (P); NEW YORK, Metropolitan Museum of Art, Blumenthal Collection (P); PARIS, Musée Jacquemart-André (M; partial copy in bronze: Naples, Museo Nazionale di Capodimonte). BlIsts if aristoC/'atic /anies: AJX-EN-PROVENCE, Mllsée Granet (high relieO; BERLIN, Bode Museum, Valentin Weisbach's gift (sclllpture in the round: Fig. 5); FLORENCE, Museo Nazionale del Bargello (fraglnent of sculpture head). Portmits ifal1ciel/t ell/perors: f01111erly BERLIN, Huldscrunsky Collection (AI/g/lstlls); CLEVELAND, Cleveland Museum of Art (A 11 tO/l i/l/ls Pi/ls); FERRARA, Museo di Casa Romei (Agrippa [Fig. 9]; A/ltonin/ls Pil/s); PARIS, Musée du Louvre (Hanriall/ls); ROVIGO, Episcopal Seminary (Ga/ua); ROME, Gallelia Nazionale di Palazzo Barberini (Nero); f01merly VENICE, Guggenheim Collection (Nero). Otller lfJorks: BUDAPEST, Budapesti Torténeti Muzellm and Magyar Nemzeti Galéria, various architectural fragments with cherubim, putti, coats or arms, festoons, dolphins (formerly Buda, Royal Palace); CAGLI (Pesaro), Church of San Francesco, Candolfini sepulchre (fì-agment); CAMALDOLl, Hennitage, ChU1'ch of the Saviour, eucharistic tabernacle; CARDIFF, National Musellm ofWales, euchatistic tabernacle (vI1ith inauthentic inscription "OPUS MINO DA FIESOLE 1483": Fig. 11); FIESOLE, Badia, lavabo, docllmented in 1461-62 (Fig. 3); FLORENCE, Carlo De Carlo Collection, 1978, Pilgrilll JesI/s, relief; FLORENCE, art trade, 2003, mantlepiece fìieze; FLORENCE, art trade, 2003, Vi/gill oj tlle AlI/lIl/lciatioll, relief; Fornì, Cathedral, baptismal font, 1504; FORLÌ, Church ofSanta Malia dei Servi (or San Pellegrino), Luffo Numai's fllneral monument, 1502 (only the figuraI parts: Fig. 12); FORLì, Corpus Domini monastely, portmit oj Cltrist in profi/e, relief; FORLÌ, Pinacoteca Comunale, Virgin lfJitlt Citi/n alln a/lge/s, relief (formerly in the Cathedral); LO[\rDON, Victoria and Albert Mllsellm, Portmit ~f [ElçgJe n)Este (Fig. 10); formerly LONDON, Heim Gallery, Pietà, relief; LONDON , Sotheby's auction, 5 December 2007 (no. 29), pilaster \vith aWal/tiw decoration; LORETO, Basilica della Santa Casa, t\\10 reliefs abollt the lvIimCII/olIS tml/sfel" oj t!le Il 135 Ho/l' HOI/se (Sal/ta Casa); PIEVEQUINTA (Forlì), parish church, baptismal font; eucharistic tabernacle; six reliefs with heads of saints; Il/1ago Pietatis and Cllrist)s il/itia/s; SAN MINIATO AL TEDESCO, former San Martino ChU1'ch, euchatistic tabernacle; SENJ (ZENGG, Dalmatia), Cathedral, Ho/l' Trillitl', 1491; URBINO, Palazzo Ducale, in today's room of sculptures (Sala delle Sculture), peducci; ZAGREB, Hrvatski povijesni muzej, eucharistic tabernacle, 1491 (fonnerly Hreljin, Dalmatia, ChU1'ch of Sv. Juraj). 11 , GregOlio di Lorenzo, Ellc//(/r;s/;r faver//(/c/e, c. 1465 (with inauthentic inscnption "OPUS MINO DA FIESOLE 1483", added in the 19,h century) . Cardiff, NatlOnal Museum ofWales 12. Torrumso Fiambertl, Giovanni Ricci and Gregorio di Lorenzo, LI~Oò Forli, Santa Malia dei Servi 136 Nlllllai'sjtl/lerallllOlllllllellt, 1502. ",onder that tbe bust in figure 5 "restored" to Gregorio for the ftrSt time \Vas attlibuted to Desideno for a long tm1e. 15 The father mennons 6-year-old NaJ)11J in a tax dedaration of 1469, while in the family's dec\aration of 1480 she is 9 (CAGLIOTI 2003 [2008], 87, 90). There is no kno",iIlg whether it is a lapslls calallli or the girl djed little after 1469 and another daughter was born in 1471 chnstened the same name (as \Vas customary in the period). 16 This piece strikjngly resembles the one m Cardiff today (Fig. I I). 17 Cf. first of ali BALOGH 1966, Il. figs 103, 118 and 364; 119 and 356; 120 and 123; 122; 124 (Buda); and 363 (Visegrad). I ~ Among the \Vorks attributed by Balogh to the MJster ofthe Marble Madonnas one \Vas surely IlOt hls work: a sandstone fragment \Vith some cherl.lbs' heads found in Nagyvazsony and kept in Veszprém, Laczk6 Dezso Muzeum (cf. BALOGH (964). It is rather a work by an anonymous Tuscan master doser to Agostmo di Duccio (Cat. Il.7). 19 CAGLIOTI 2004, 61-62,77, note 80. For COlllpJrison's sake, see SZf'vIODIS-EsZLÀR Y 2004 and UlU3i\CH 2004. 2" Unless other\Vise indicated, the matenal of the works is marble or stone. For a more ampIe bibuography on the Master of the Marble Madonnas and for sources toudung OD Gregorio di Lorenzo, see BALOGH 1966, l. 507-508; PISANI 2003; Ct\GLlOTI 2003 [2008]; CAGLIOTI 2004, 58-61, 76-77; CAGLIOTI, forthcommg. NOTES BODI in BURCKHARDT 1884, Il. 397; BODE 1886,23-32; BODE IO BURCKHARDT 1893, II. 391. 1 Tbe revealing and fake nlOeteenth-century mscription "OPUS MINO DA FrESOLE 1483" features 011 the eucharistic tabernade in Cardiff, whjch is "retumed" to the "Master" on these pages for tbe flrst rime (Fig. 11). J PULSZKY 1890. 4 DE NICOLA 1922. 5 BALOGH 1933a. 6 Mainly: BALOGH 1966, I. esp. 505-508; as \VeU as BALOGH 1975a, esp. 179-183; BALOGH 1980; Jobn BALOGH and Mik16s HÉJJ in Matthias Cvr/lill/ls 1982, 385-390, cat. 352-356. 7 Cf. e.g. BALOGH 1975a, 139. 8 CAGLIOTI 2000a, l. 364-365 and note 32; II. fig. 315. 9 PISANI 2003. 111 Giancarlo GENTILlNI'S advice, reported by BELLANDI 200 l, 38, 40 . Il PISANI 2003. 12 CAGLIOTI 2003 [2008], 86, 90; CAGLIOTI 2004, 60. 13 CAGLIOTI 2003 [2008], 86-91; CAGLIOTI 2004, 58-61. 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Budapest 2005. 596 Index of persons and pIace names I DEX OF PERSO Agathia 152, 235, 252, 260 AgathodallTIOn 209 Agnppa, Marcus Vipsamu 130, 135 Ak amit, Peter 45 A1amanu, IColaus Lauremii 484 Albano, Giusto de 209 A1bert l of Habsburg, Duke of Austria, King of the Romans 530 A1bert II of Habsburg, King of the Romans, King ofHungary and Bohe1l1la, Duke of AUltna 42,44,119,139,165,176,177, 178,181,192,205,249,267,298,303,530 A1bert Ill, Duke of Au tna 390 A1bert 111, [)uke ofSaxony 67 A1bert lll, Margrave ofBrandenburg 28 A1bert VI, Archduke of Au tna 381 Albert!, Leon BattIsta 115,212,313,329,331 A1egregt Kolbaz, L6rinc 245 Alexander the Great, King of Macedol11a 86, 109,21 1,215,216,225,235,465,471,497 Alexander VI, Pope 272, 532 Alexandra ofTeschen 199,203 Alfonso II of Aragon, Kll1g of Naples 255 Alfonso V of Aragon, Kmg of aplel as Alfonso l 235,256,259,354 Almurci, joan 354 A1tdorfer, A1brecht 376, 530 Altemberger, Tamas 286 AltiSSimo, Cnstofano dell' 210,211,226 Amadeo, Giovanm Amol11o 278 Ambrme, Samt 471 Amerbach, johann 435 Ammlanus Marcelhnus 478 Andra Iy Kurta, janos 466 Andrea d'Altavilla 263 Andrea, PIetro 355 Andreas of Vlenna, Franciscan fnar, confessor of Queen Beatnce 402 Andreas Pannoniu 41, 486, 488 Andre\~ Il of H ungary 397 Angelo, jacopo d' 209 Anne of FOlx-Candale, Queen of Hungary 534 Anonymus, Hungarian elenc and chrol11eler 505 Anselm ofCanterbury, Sa111t 471 AmaI of Kassa, Master 444 Antal, Frigyes 113 Anthony of Padua, Saint 424 Anthony, Domil11can fnar, confessor of Queen Beatnce 403 Antol11etta, Coumess of alemo 262 Antol11nus Pius, Roman Emperor 130, 135 Amomo da Monza 426 Apianus, Petrus 517 Apollon (Apollo) 231,474,520 Aranka, Gyorgy 36 AranYI, LaJos 183, 184 Argyropoulos,john 141-142, 144 Anstotle 142, 160,239,471 Amde ,Heinncus 533 Arrianu ,Flavlll 235, 260 Attavame deglt Attavantl 116,148,150,153, 156-157,160,162-163,209,216,231, 233-234, 329, 393, 468, 470, 476, 478, 480, 484, 486 AttIla the Kmg ofthe Hum 115,215, 228, 237 Augustll1e, Salllt 446.471. 505 Augustlnus 010mucen is (Augustln Kasenbrot) 277 Augusrus, Roman Emperor 86 Averuhnus sec Filarete Bacchus (DlOnysos) 518 l3aJnal Bot, Andras 30, 531 BaJom, Istvan 142 BaJom, janos 186 l3aJoni, Larinc 283, 285 Bak, janos 22 Bak6cz, Balmt 272 Bak6cz, Tamas, Bishop of Gy6r and Eger, Archblshop of Esztergom 120, 196, 271, 272-273,401,509, 525, 531 533,536 Balogh,jolan 17 18,21,70,98,111,129, 150,156,216,227 228,253,274,313,317, 326,340,397,411,426,458-459,462, 464-465,516,519 Bandelll, tephanus 403 Bandllll, Francesco 23, 140, 143, 161,252, 313,331,496 Banfalvl, Miklos ( lcolaus Banus) 139, 140,199 l3Jnfi, Mikl6s (Lmdvai) 27,30,32, 194, 490 l3anfi, PiI (Alsolendvai) 46, 192, 194, 200 Barbara A1tarplece, Master of the 108 Barban,jacopo de' 516 Barbo, Marco 449,451 Barincskal (Branylc kai), Anko 41 Banus, Nlcolaus .Ice Banf..1lvi Mlklos Ba arab, VOlvode ofWallachla 268 Bitori, Andras 268, 275 Batori, Istvan 32,268,271,274,401, 525,531 Baton, Mlkl6s, Bishop ofVac 32,98, 143, 275, 334 Batthyany (I.), Adam 368 Batthyany (II.), Adam 368 Batthyany, Kazmér 368 Batthyany, LaJos 217 Baumlmcher, Andreas 30, 194.200 Beatrice of Aragon, Qlleen of H ungary 534 597 22,24,26-28,31,56,58-60,66,68,72,93, 97, 102, 108, IlO, 120, 131. 143, 147, 152-153,160-161,196,225,235,237,249, 251-265,272,279,284,314,324,326,331, 335,347,354,388,393,395,403,406,409, 426, 428, 430, 452, 466, 468, 476, 488, 496, 498,509,511,513,515,516-518,522,525, 531,533 l3eck, Hlerom}'mus 217 Beckensloer (Beckcnschlager), johann, Archbishop of Esztergom, later of Salzburg 62, 65, 74, 258, 390 Bél, Maeyas 218 Belli ili , Gemile 211 Benedetto da Malano 153, 256, 314, 340 Benk6, jozsef 37 Berekszol Hagymas, Laszlo 177 Benszl6, l3ertalan 525, 531 BerkovltS, !lona 488 Bernard of Clalrvaux, Saint 471 Bernardine of Siena, Sall1t 179, 398, 424 l3ertalan, Vllmosné 359 Berthold, Hans 79 Bessanon, Johannes (Baslltos) 141-142, 162, 471,517,533 Besser, Carolm Chnstianus 36 Bettlni da Fano, GIOvanili 301 Bezsak, Mlklos 69 Blrago, Giovan Pietro 424, 426 BistiCCI, Vespasiano da 140, 142, 148, 156, 160,233 l3landius, mllliator 150, 468 13l0ndus, Flavlus 504, 511 Boccardi, GIOvanni di Giuliano (Boccardino il VecchIO) 148,153,216,470,474 Bod ofllodf..1Iva, Gal 303 Bod of Bodfalva, janos 303 Bod of Bodfalva, Sztlveszter 303 Bode, Wilhelm 129,459 Bollandus Oean Bolland) 435 Bologlll, Girolamo (Hlerolllmus Bononius TarvlSll1Us) 72 13onfigli, Benedetto 209-210 Bonfilll, Antonio 17,22,27,35,36..42,46, 52,60,66,71-72,89-90,92-95,97..99, 114-116,118,126-127,152,156,165-167, 216,238,248,251,252,263,268,270,320, 331,354,391,393,395,411,446,464,471, 474,503-505,510-511,514,525,531 Bonll1segni, ])omenico di 209 Bono, Pietro 252, 263 Bontempl, Candido 488 Bosch, Hyeronimus 376 BoskovlC (Cernohorsky z), Dobes 30, 281, 306, 382 Boskovlc (Cemohorsky z), jaroslav 68, 71,278