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
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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
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....
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(~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.
H A compJnson of figures 4 and 5 eloquently proves the similarittes of style
and differences in qualiry bet\Veen Gregorio and Ills master. lt IS no
l
137
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}\,fitteil'lIlgclI des ltlstituts fiir Ostcrreiclrische
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Magyar Orszago Levélcar, Diplomankai Levéltar
ASM
Archivio dI Stato d, Modena, Modena
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Magyar Tiirth,elmi Tar
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ArchIvIo Segreto VatIcano, Rome
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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