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
widely used method. 7 There is evidence of such measures in the history of the Esterházy Gallery, too: x "On November 5, 1821, Prince Esterházy, upon the submittal of Fischer, assigns 100 forints to Rauch Gemäldeaufziecher for the transferring of Andrea del Sarto's Madonna from panel to canvas; -For the restoration of the same painting, as per the invoice of Rothmüller, "welche ausserämtlich von mir selbst ist besorget wurden," 150 f.; -For Rothmüller's sundry expenses 161 f." Joseph Fischer engraver and landscape painter was in charge of the gallery until 1822; he was succeeded by Anthon Rothmüller. The inventories drawn up during their times included four of the paintings in the collection as by Andrea del Sarto. 9 Two of these appeared already in the 1821 inventory: a. /no. 52. A. del Sarto: Heilige Familie, 5*6"- 4'2" b. /no. 61. A. del Sarto: Heilige Familie, 4*5" - 3'2 ,M0 c/The painting discussed in the present article appeared in the 1823 acquisition journal, under no. 1106 (inv. 69, see above). d/A fourth one was acquired in November 1832 (no. 1160: A. del Sarto: Madonna). This painting is today inv. no. 66. in the collections of the Museum of Fine Arts and is catalogued as a sixteenth-century copy after a lost original of 1512 by Sarto. its measurements are 85.5 by 67.5 cm. Our present knowledge appears to be insufficient to determine which of Sarto's Madonnas does the notice of November 5, 1821, refer to. The one now considered to be by Foschi (b./) must be rejected since it is on wooden support, and, moreover, its theme was specified in the inventory as "Heilige Familie". It is for reasons similar to the latter that the other Holy Family (a./) can be excluded, even though treatments of this subject are usually dominated by the images of the Virgin and the Child. Thus, given that the other two Madonnas (c./, d./) were acquired at a later date, it appears that there is some contradiction between the records of the published sources; the problem is yet to be clarified by further research. At the same time, the archival 7 The subject was treated in an excellent thesis prepared at the Conservator Training Institute of the Fine Arts University of Budapest: Kiss, Márta, Képátültetés, dublírozás és afaképek hátoldali védelmének története a XWII-XIX. században, 2001. For a further bibliography on the subject, please consult this paper. 8 Meiler, op.cit. (n. 6.) 134. 9 Ibid, 200, 201, 242. 10 The Holy Family with Saint John the Baptist, inv. no. 164, 132.5 by 104 cm. Vilmos Tátrai identified it as a work by Pier Francesco Foschi: Tátrai, V, "Tableau inconnu de Pier Francesco Foschi d'après Andrea del Sarto", BullMusHongr 51 (1978) 87-93.
