Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 97. (Budapest, 2002)

FORRAI, KORNÉLIA HOÓS, MARIANNA-SOMOS, ÉVA: The Research and Restoration of a Painting on Panel, Transferred to Canvas, by Domenico Puligo. Madonna and Child with Saint Sebastian and Saint Roch

23. The incised signature monogram, which fueled the assumption that it could be a later addition.

3 Since the inscription has been incised into the paint layer with a nibbed implement, the date of its creation relative to that of the painting could only be determined by employing a specific method (fig. 23). The painting passed into the ownership of the Esterházy family in 1823. The acquisition journal of the collection, published by Simon Meiler, makes clear that at that date the painting was still on a wooden support: "...Andrea del Sarto: Madonna mit dem Kind, h. Rochus und h. Sebastian, Holz, h. ÖM" br. SM"...".

6 The dimensions of the panel were given in Viennese feet; the measurements equal 200.2 cm by 168.6 cm. As conservators we were interested in when, where and by whom was the painting transferred to canvas. There is no reference to any large panel painting having been transferred to canvas in the abstracts that Meiler compiled from the Esterházy Archives, thus we can only presume that our picture underwent this process before its accession to public ownership in 1870. It is known that in the 19th century, when the craft of restoring became a distinct profession, the full transferring of the paint layer to a new support was a surprisingly 5 Frimmel, Klaus, Galerie Studien 1892, 228. Capretti also holds that the subsequence of the incised monogram is self-evident: Capretti, op.cil. (n. 1.) 80. Meiler, Simon, Az Esterházy Képtár története, Budapest 1915, 242.