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 BUDAPEST ANIMAL MODEL-BOOK CODICOLOGICAL ANALYSIS AND RECONSTRUCTION Not many traces of the popular animal model-books of quattrocento Florence have survived. Of all the earlier written sources on the well-known animal modelbook tradition of Florence, it is primarily thanks to the studies of Bernhard Degenhart, Annegrit Schmitt, Robert W. Scheller and Francis Ames-Lewis that all this has been rendered more tangible.

1 Alongside the animal model-book of the Rothschild Collection at the Louvre, the reconstructed collection of animal model sheets of the Uccello workshop from drawings of numerous collections and the similarly scattered animal drawings used in the Gozzoli workshop, all in all, just a few, sporadically appearing, autonomous animal model sheets have been identified.

2 In a 1973 study, Loránd Zentai already called attention to the animal model-book of Florentine origin that is deposited in the Budapest Museum of Fine Arts under inventory number 1918-482; nevertheless, until today the literature has not given it any attention.

3 The thirty-two-page small booklet containing exclusively animals is of interest not only as a curiosity, but this is today one of the richest known collections of Florentine quattrocento animal motifs. The model-book consists of nine parchment sheets, each measuring 147x190 mm. Of these, on one blank sheet can be found the inventory number noted in black ink as well as the stamp of the collection, while on both sides of the other eight sheets animal depictions drawn with pen and ink are arranged. The parchment 1 B. Degenhart and A. Schmitt, Corpus der italienischen Zeichnungen, 1300-1450, I (Süd- und Mittelitalien), 4 vols., Berlin 1968 (henceforth Corpus); F. Ames-Lewis, Drawing in Early Renaissance Italy, New Haven and London 1981; F. Ames-Lewis and J. Wright, Drawing in the Italian Renaissance Workshop, London 1983; F. Arnes-Lewis, "Modelbook Drawings and the Florentine Quattrocento Artist," Art History 10, no. 2 (1987), l-l 1; R. W. Scheller, Exemplum: Model-Book Drawings and the Practice of Artistic Transmission in the Middle Ages (ca. 900 - ca. 1470), Amsterdam 1995. 2 On the model-book of the Rothschild Collection at the Louvre, see Corpus 1/1, cat. 154; A. J. Elen, Italian Late-Medieval and Renaissance Drawing Books: from Giovannino de' Grassi to Palma Giovane, Leiden 1995, cat. 18; Serieller, op. cit. (n. 1), cat. 32. On the Uccello sheets, see Corpus 1/2, cat. 303, 304, 306, 310, 311, 319-26; Elen, op. cit., cat. 17. On the Gozzoli workshop drawings, see Corpus 1/2, cat. 408, 409, 434-69; Elen, op. cit., cat. 23; Serieller, op. cit. (n. 1), cat. 36. 3 L. Zentai, "Un livre de patrons d'animaux florentine au Musée des Beaux-Arts," Bulletin du Musée Hongrois des Beaux-Arts 40 (1973), 25-39. Single exception is Elen, op. cit. (n. 2), cat. 33.