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

quattrocento, likewise many eminent artistic personalities put in an appearance, they also worked from similar model-books.

45 Diverging from the first group of drawings, the freer further drawings represent a more painterly approach in the Budapest Model-book. The character of the energetically hatched pen drawings suggests a workshop that attended to painterly duties. The model drawings employed in fifteenth-century painters' workshops are extraordinarily varied in their drawing techniques: silverpoint drawings, pen drawings modelled with bistre wash or white bodycolour and colour aquarelle all turn up among them. At the beginning of the sixteenth century, when the second group of drawings of the Budapest Model-book was prepared, animal motifs, inherited from the Late Gothic, crop up for the most part only in the works of cassone-painters and illuminators, which preserve the conservative forms. The model sheets of the illuminators, on the other hand, just as the majority of depictions of the Bergamo Book, as opposed to the monochrome pen drawings of the Budapest Model-book, were painstakingly coloured with aquarelles. The small dimensions of the Budapest Model-book drawings might also suggest an illuminator workshop, as Loránd Zentai and Gyula Gajdó previously postulated.

46 It is a fact, however, that the painters also preferred small-scale drawings, since these could be enlarged according to need to the desired measure, depending upon whether they were to be employed for frescoes, panel paintings or miniatures.

47 For all that, I do not share Loránd Zentai's opinion that the use of parchment and the small-scale, well-finished drawings indicate that the earlier drawings of the Budapest Model-book were done by an illuminator workshop, while the later depictions were conjecturably illuminators, too.

48 At the same time, Gyula Gajdó's arguments are historically unfounded, by which he felt that the use of parchment and bistre verified the origin of the Budapest Model-book as being an illuminator workshop. We have already addressed the use of parchment; bistre was employed in a much wider range than Gyula Gajdó hypothesizes. The drawings of fifteenth-century model-books, regardless of where they were produced, were for the most part prepared with pen and bistre. This does not mean for a moment that "bistre was the ink of the illuminators, which was used for under-drawing or sketches".

49 According to the evidence, for the under-drawing of unfinished miniatures, the illuminators preferred the easily corrected silverpoint or graphite, and reinforced the outlines only of the final version with bistre.

50 The technique and style of the drawings, in any case, seem to contradict that the Budapest Model-book would have been produced in the illuminator workshop. R. Krautheimer and T. Krautheimer-Hess, Lorenzo Ghiberti, Princeton, N. J. 1956, 207-8. Zentai, op. cit. (n. 3), 38; Gajdó, op. cit. (n. 7), 4. Ames-Lewis, op. cit. 1981 (n. 1), 68. Zentai, op. cit. (n. 3), 38-39. Gajdó, op. cit. (n. 7), 5. Alexander, op. cit. (n. 34), 38-40. Cennini also writes on a similar method of under-drawing miniatures, see Cennini, chap. 157.