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

tencies. In all, there are three existing drawing-books of which we can claim with certainty that they were employed in illuminator workshops: the Bergamo Book, attributed to Giovannino de' Grassi and his workshop; the Libro di Giusto, originating in 1450's North-Italy; and the so-called Crockerell Chronicle, of the same age as the latter. All three of these volumes are significantly larger than the Budapest Model-book.

26 Naturally, it is not out of the question that the Budapest Model-book was produced in the illuminator workshop; nevertheless, the use of parchment and the small dimensions of the sheets do not in themselves testify to this. Drawing technique and style Fifteenth-century drawings were already produced for the most part with pen and ink. The pen drawing, as opposed to that of silverpoint, was correctible only with difficulty, and thus demanded more than a bit of practice and a sure hand from the draughtsman.

27 For this reason, Cennini recommended the pen as a professional technique only to those apprentices who had already achieved a measure of skill in drawing.

28 The pen proved to be suitable both for sketches drawn with only a few quick definitive lines and for the model drawings rich in detail and meticulously elaborated. As a general rule, the model drawings were also lightly washed with pen or slender brush and a small amount of ink dissolved in water.

29 For this, from the fifteenth century, an opaque lead white paint was already employed more regularly, just as in the several sheets of the model-book of the Gozzoli workshop.

30 Colour model-books are significantly rarer. Drawings coloured with aquarelles, as in the depictions of the Bergamo Book, were in all probability employed in the illuminator workshops.

31 However, according to 1520's notes of Marcantonio Michiel of Venice, such coloured animal motifs (animali coloriti) were also contained in the model-book of the Lombard illuminator, Michelino da Besozzo.

32 6 On the Bergamo Book, see II taccuino di disegni di Giovannino de' Grassi, Monumenta Bergomensia 5, Bergamo 1961; Elen, op. cit. (n. 2), cat. 3; Serieller, op. cit. (n. 1), cat. 26. On Libro Giusto, see Elen, op. cit. (n. 2), cat. 19; Serieller, op. cit. (n. 1), cat 35. On the Crockerell Chronicle, see Elen, op. cit. (n. 2), cat. 20. For more on the illuminators in connection with model-books, see ibid., 103-7. 7 The popularity of the pen does not mean that it completely superseded silverpoint in daily practice, see Ames-Lewis, op. cit. 1981 (n. 1), 35-51. On late-medieval and renaissance drawing technique, see J. Meder, The Mastery of Drawing, trans, and ed. W. Ames, New York 1978; Corpus 1/1, xl-xliii; C. C. Bambach, Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600, Cambridge 1999. 18 Cennini, chap. 13. !9 Ibid., chap. 10. 10 Ibid., chap. 32. On the Gozzoli workshop drawings, see n. 2. " Cennini, chap. 10. On the connection between aquarelle coloured model-books and the illuminators, see Ames-Lewis, op. cit. 1981 (n. 1), 68; Serieller, op. cit. (n. 1), 35, n. 26. 12 "[...] el libretto in quarto in cavreto con li animali coloriti de mano de Michelino Milanese." (G. Frizoni, Notizie dbpere de disegno, Bologna 1884, 221.)