1910] on Renaissance Monuments in the Roman Churches. 879 



Mark, the large panel above the recumbent figure, representing the 

 Resurrection, and the relief of the Almighty in benediction, which 

 once surmounted the lunette. Dalmata also executed the recumbent 

 figure of the Pope, a remarkable piece of portraiture— and a very 

 graceful design for the panel roofing the square niche in which it 

 lies. 



As this interesting sculptor, who, like Laurana, Giorgio da Sebe- 

 nico and others, hailed from the further side of the Adriatic, is little 

 known in this country, I am anxious so far as the lantern will 

 permit, to illustrate his salient characteristics. For contrast's sake, 

 look again at Miuo's figure of Charity, typical of his well-known 

 manner. Now compare with this Dalmata's figure of Hope. The 

 most obvious differentiation lies in the mode of treating draperies. 

 The stuff falls in heavy round folds and rock-like masses. There is 

 a realism of execution suggesting direct study from the model, which 

 contrasts with the artificial precision of Mine's method. His angels 

 and female faces have a cast of countenance foreign to Italian art, 

 and perhaps recall the types of his country of origin. For the mascu- 

 line faces, look once more at the creation of Eve, and the Resurrection, 

 of which I have only the central figure ; and again at this figure from 

 one of the niches. In all these faces you will notice a characteristic 

 not very pleasing, a certain obtuse and inert expression. Once ap- 

 preciated it is unmistakable, and gives a clue to nearly all Dalmata's 

 work in Rome. Another monument, executed about 1479, that of 

 Cardinal Eruli, the fragments of which are also in the crypt, seem to 

 have been entirely Dalmata's. 



We have another example of co-operation between Mino and 

 Dalmata in the fragments of a ciborium altar, also executed for Marco 

 Barbo, and set up in the church of St. Marco in 1476, which have now 

 been put together, with barbarous disregard for its original design, in 

 the sacristy of that church. The reliefs however belonged, there is 

 little doubt, to the tabernacle which is inserted between them, as their 

 subjects are typical of the holy elements to be reserved there. That 

 on the left, representing Jacob bringing savoury meat to the bUnd 

 Isaac, is Dalmata's ; that on the right, by Mino, represents Mel- 

 chisedek giving bread and wine to Abraham. 



From St. Marco we pass to the ancient basilica St. Clemente, and, 

 having in mind the characteristics exhibited by Dalmata in the 

 crypt, we examine the tomb of Cardinal Roverella, in the choir, to the 

 right of the high altar. The cardinal died in 1476, just about the 

 time when the tomb of Paul II. was completed, if Vasari is right in 

 assigning two years for its execution. Here again two artists have 

 been at work, one of them undoubtedly Dalmata, but his collaborator 

 is neither of the Minos. He is probably a sculptor who, elsewhere, 

 worked with Mino da Fiesole, or called in Mino to assist him, one 

 Andrea Bregno, to whom I shall come by and by. His share in this 

 monument consists of the fine recumbent portrait figure, the Apostles, 



Vol. XIX. (No. 104) 3 m 



