Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 100. (Budapest, 2004)
URBACH, ZSUZSA: Ein flämischer ikonographischer Bildtypus im italienischen Quattrocento. Bemerkungen zur Studie von Éva Eszláry
the quire. Supplementing to some extent the hypothesis of Loránd Zentai, the Budapest Model-book obtained its final form over two consecutive periods: the master of the second workshop attached a further three empty folded parchment sheets, to the quire composed of five bifolios begun by the first workshop, but left unfinished. Cover and binding The Budapest Model-book is covered by a single blank parchment sheet folded double, which was sewn to the quire along its median (fig. 37). In the majority of surviving model-books, if they had a cover at all, it was formed for the most part by a single once or twice folded paper or parchment sheet. Since the model-books were intended for daily use, a simple cover was justified by practical reasons, and thus they were as a general rule a bit wider than the quires, in this way protecting them from damage. 79 The cover of the Budapest Model-book, however, is of identical measure to the parchment sheets forming the quire. Either the master of the second workshop used a parchment sheet from the same undone quire for a cover, from which he also created the three new bifolios, or the model-book was later trimmed. This latter practice is not unknown among collectors, and the even edges and the depictions running in places to the edge of the page would render this likely. But the deviations in measure between the leaves of the model-book also point to this; the width of the bifolios is 183/195 mm. It is not likely, however, that prior to the quire being acquired by the Budapest Museum of Fine Arts, that it would have earlier been undone or rearranged. The bad condition, the method of binding and the poor cover of the model-book all reflect the workshop practice of the era. For all these reasons, it appears that the Budapest Model-book has been preserved in its sixteenth-century condition, spared of significant modifications. ZOLTÁN KÁRPÁTI Translated by Adèle Eisenstein Elen, op. cit. (n. 2), 63-65; Serieller, op. cit. (n. 1), 38.
