Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 102-103. (Budapest, 2005)

ZOLTÁN KÁRPÁTI: A Late Drawing by Domenico Campagnola

42 DOMENICO CAMPAGNOLA. THE PENITENT MARY MAGDALENE. HAARLEM. TEYLER MUSEUM however, corresponds precisely. Even if their scale diverges, and in the Budapest drawing of the scene of several characters, the individuals are less elaborated than in the Haarlem drawing, the elegant figures, and the merely indicative apparel of the body forms are rendered with slightly arched parallel lines, and the almost abstract shading of both drawings are extremely characteristic features that acknowledge the identical hand of the master. In the Budapest drawing, following their long pitching through the sea, the miraculously saved Mary Magdalene and Lazarus are just helping their elder sister, Martha, from the boat.

11 Alongside the sketchy STAFFAGE forms on the right-hand side in the scene reduced to three characters, evoking the mediaeval parallel narrative in the lefthand forest, the minutely elaborated penitent saint appears in the Haarlem sheet. Judging by the identical subject, and the same paper and ink, as well as the corres-