880 Sir Rennell Rodd [June 3, 



and the little angels at the base. The rest of the monument — the 

 Madonna and attendant angels, the dignified figure of the Father, and 

 the angels at the ends of the sarcophagus holding back the curtains, 

 a Renaissance adaptation of an old Gothic motive — can be assigned to 

 no otlier hand but Dalmata's. A Pieta, evidently his also, a frag- 

 ment from some monument now broken up, may be seen in the porch 

 of the church of St. Agostino. Herr von Tschudi has pointed out 

 his marked manner in certain portions of the Tebaldi monument in 

 the Church of the Minerva. This prelate died in 1466. It does not 

 follow that the tomb was constructed immediately after his death. 

 We may however assume that Dalmata worked in Rome for about 

 fifteen years. Of his subsequent career some records have been dis- 

 covered by Fabriczy and others. He was summoned to the court of 

 Matthseus Corvinus, King of Hungary, who ennobled him and gave 

 him a castle in Slavonia. His work may be traced in Venice and 

 Vienna, and finally in Ancona, where the tomb of the beatified 

 G-irolamo Gianelli, a work of his later and faihng years, was executed 

 as late as 1509. 



And now to return for a moment to Mino da Fiesole. Another 

 important work which must have been put in hand about the same 

 time as the tomb of Paul II. is that of Cardinal Forteguerra in Sta. 

 Cecilia. The fragments of this monument, which liad been broken 

 up, were only put together again in 1891, and it has sufi'ered from 

 injudicious regilding. The Madonna and Child is his work, as also 

 is the recumbent figure of the fighting cardinal, which is treated in 

 the same manner as his presentation of the Count Ugo in the Badia 

 at Florence. It does not lie on the sarcophagus, but on a sort of 

 shell or bier raised above it. The other figures were probably con- 

 tributed by Andrea Bregno, the angels in the lunette being charac- 

 teristic of his manner. In the sacristy of this church there is also a 

 Madonna from Mino's workshop. 



A year before Cardinal Forteguerra, died Pietro Riario, Cardinal 

 of San Sisto, the favourite nephew who was called by Sixtus IV. 

 from a Franciscan monastery to become a prince of the church, and 

 who, after a meteoric career of wild excesses, died only two years 

 after his elevation. His monument, one of the most interesting in 

 Rome, is in the Church of the Holy Apostles. The relief of the 

 Madonna and Child appears to be the work of Mino in one of his 

 happiest moods. The saints in the upper niches of the pilasters are 

 also his. One, at any rate, of the lower ones I should attribute to 

 another hand, and the groups on either side of the Madonna have 

 been, I think, with justice given to Andrea Bregno. So, also, the 

 sarcophagus and the recumbent figure have hitherto been. With 

 this attribution, however, I venture to differ. The portrait figure is 

 treated in the same manner as in the Forteguerra monument. The 

 face is strong, highly finished, and poHshed like ivory. The sarco- 

 phagus is the most beautiful example of such work in Rome. The 



