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

36. A sheet of the model-book after the restoration. Budapest, Museum of Fine Arts order of the sheets within the portfolio at the time was followed, at the same time, he gave voice to the uncertainty of its fidelity to the original composition.

6 In 1997, Gyula Gajdó restored the defective and undulating parchment sheets with crumbling edges: he filled the holes eaten away by mould and the damages in the margins with parchment pulp; however, the drawings have not been retouched. The aim of this restoration was that subsequent to the parchment replacements of the model-book, it be able to be exhibited in the form of separate individual sheets.

7 It was at this time that the original, booklet-like character of the model-book was terminated definitively (fig. 36). With the folding at the centres of the pages smoothed out, and the former traces of the stick-holes patched in, the prior bifolios have been re-qualified as autonomous parchment sheets. As these parchment 6 ibid., 34. ' Gy. Gajdó, "Egy 15-16. századi lombard mintakönyv restaurálása (The Restoration of a 15-16th Century Lombard Model-book)," diss., Restorator Institute of the Hungarian Academy of Fine Arts (MKE), Budapest, 1997; id., "La restauration d'un carnet de modèles lombard des XV-XVIe siècles," Bulletin du Musée Hongrois des Beaux-Arts 86 (1997), 105-6. The page order suggested by Gyula Gajdó contradicts not only the numbering of leaves according to the Zentai study, which reflects an earlier condition, approaching more or less the original, but Gyula Gajdó also disjoins a circle pattern on two neighbouring leaves, see chart 1.