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

the first group of the drawings, on the basis of their divergent styles, at least three groups can be set apart. But does this justify speaking of three different hands? The small stylistic differences, just as the lesser disparities in quality between the drawings, could also proceed from the variegated types of motifs. The more flawless a model drawing, the more faithfully can it imitate the style of the origin. The copying of model drawings also played an important role in the training of apprentices, who thus could acquire not only the principal motifs of the workshop, but also the style of the leader of the workshop.

54 As opposed to sketches conveying more expressive, artistic invention, the earlier drawings of the Budapest Model-book, both in their technique and character, are the heirs of late medieval workshop drawings, thus as the marks of the formal treasures of a workshop, they testify as to the fellowship of a workshop rather than individuality of the artist. Consequently, the stylistic dissonances within the first group of drawings of the Budapest Model-book provide exceedingly little proof as a basis to distinguish between the hands. What is certain, however, is that the earlier drawings of the Budapest Model-book, while presumably deriving from several different hands, were produced within a single workshop, since they have all been drawn with same type of bistre. Therefore, I feel in the case of the Budapest Model-book that it is more justified to refer to the designation of the workshop instead of the master, if only for the reason that, as pertains to a model-book, it is only in the rarest of cases that authorship tied to the name of a concrete master can be ascertained. Thus, in connection with the first group of drawings, herewith I refer to the first workshop. The later, freer pen drawings of the Budapest Model-book are in all certainty the work of a single hand. While these also follow various types of motifs, the energetic use of the pen provides the drawings with common features that characterise the entirety of the second group of drawings. These drawings possess a pronouncedly individual character, and contrary to the workshop drawings of the first group, they indicate an unambiguous artist's individuality. In their case, herewith I will use the designation master of the second workshop. Quire structures and Gregorys Rule As a general rule, the parchment-maker workshops sold their parchment already bound in quires.

55 In assembling the quire (fasciculus), a sheet of parchment was folded in half several times.

56 The quire took the form of di folio if it was folded once, Ames-Lewis, op. cit. (n. 43), 36. Elen, op. cit. (n. 2), 41. On fourteenth and fifteenth-century Italian parchment making, see G. S. Martini, "La bottega di un cartolaio fiorentino della secondo meta del quattrocento: Nuovi contributi biografici intorno al Gherardo e Monte di Giovanni," La Bibliofilia, suppl., 58 (1956), 182. Lemaire, op. cit. (n. 10), 39-40.