Stibor and Angevine tomb stones, St Simeon's coffin
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The finest tomb stone which survived was the one of the younger Stibor, who died in 1434. It was found near the church of Our Lady of Buda. Fragments of a woman's head and a Stibor coat-of-arms were found in Buda, near the St Sigismund church (the Buda house of the Stibors stood here, too) - which might have been the fragments of a tomb stone of a family member. The fragments of the tomb stone of the elder Stibor were preserved in Székesfehérvár. All the three figural tomb stones, cut from red marble, are the works of the same master. This master made the tomb stone of the family of Ostoja, the Bosnian king. Today it is kept in Sarajevo.
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the Angevine tomb stones of Székesfehérvár
Charles I was buried in the Virgin Mary provostship church at Székesfehérvár in 1342. Louis I founded a chapel here in the honour of St Catherine, and was buried here in 1382. The title of the chapel refers to the fact that King Louis's daughter, Catherine may have been buried here, too. The place of King Louis's tomb chapel is dubious: Bonfini is the only medieval author, who defined the place - he mentioned the right side of the church - which was the southern side. In contrast to this there was the possibility to localise it to the northern side. We know about a red marble tomb stone from Székesfehérvár, which must have been the tomb stone of Charles I or Louis I. A Hungarian helmet decoration with an ostrich feather carved from red marble was also found, which may have belonged to one of the tomb stones. The lower part of a woman's tomb stone made of red marble is very similar to the royal tomb stone. It was generally mentioned as the cover of Prince Catherine's sarcophagus. The fragment of a 14th-century baldachin structure with stone bars also survived, but it is not proved yet wether they belonged to the Angevine tomb stone or not.
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St Simeon's silver coffin of Zára
Smith Francesco Antonio da Mediolano made St Simeon's silver coffin of Zára between 1377-1380 at the request of Louis I's wife, Queen Elisabeth of Bosnia and to the order of the Council of Zára. According to the contract, which survived, four assistants of the master also worked on it. The relic holder decorated with reliefs shows Venetian influence, but the composition of the "Introduction in the Church" follows Giotto's Paduan fresco.
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