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

abstracts published by Meiler also include a record on the payment of 40 f to the engraver Gleditsch for producing an engraved copy of a Madonna by Andrea del Sarto.

11 It is quite possible that the painting restored in 1821 matches the one reproduced in the previous years. In connection with this, it has to be noted that the aggregated amount of money spent on the transferring and restoration of the painting is indicative of the significance attributed to the painting as well as the large scale of the conservation work. The archival records also inform us that Rauch specialized in (re)lining, and that Rothmüller invoiced the prince for the services related to the restoration in two parts. The art collections of the princely family were under the charge of several people. We know, for example, that Johan Adam Braun worked as "Restaurator und Schatzmeister".

12 Between 1841^13, F. G. Waldmüller was employed to treat the Spanish paintings in the collection. In 1862, Gustav Kratzmann became the head of the gallery, who had received his training as a restorer under Andreas Eugner, conservator to the King of Bavaria. The present painting was acquired in 1823. Central heating was installed in the gallery rooms two years later, and we may presume that the condition of the picture started to deteriorate rapidly after that. According to the descriptive inventory of the pictures of 1834, the present one was hung in the eleventh room of the palace on Mariahilfer Strasse.

13 The collection was conveyed to Pest by steamboat in 1865 to finally become the nucleus of the National Picture Gallery. According to the descriptive catalogue of 1897, the present painting was, on the basis of the engraved monogram, catalogued as by Andrea del Sarto.

14 Neither the records published by Meiler nor the entries of the National Picture Gallery and its successor, the Museum of Fine Arts, provide any information regarding the transferring of the painting. THE PAINTING'S CONDITION BEFORE TREATMENT The examination before the conservation treatment of 2000-2001 found that the painting, which had already been lined before, was reinforced by attaching a tightly woven, thin-yarned, plain-weave fabric directly to the back of it. This fabric, in turn, was adhered to another fine, albeit somewhat coarser, linen canvas, which was attached to the back of the painting in two layers. The two canvases had been fixed to the stretcher with two distinct rows of tacks, but the exact method of their application is not clear. That a further canvas was, for technical or aesthetical reasons, mounted on the 11 Meiler, op.cit. (n. 6.) 125. 12 Garas, K., Von der Kunstkammer zum Kunstmuseum, in Italienische Kunst aus der Sammlung des Fürstenhauses Esterházy, Frankfurt am Main 1

999, 85. 13 National Archives of Hungary, P. 112/83. Az Országos Képtár műtárgyainak leíró lajstroma, Budapest 1897, 31.