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

a quarto if it was folded twice, and an octavo, in the rarest case, when it was folded three times. The volume of quires depended upon the number of bifolios that were bound. The most common was the quinio, which was assembled from five parchment sheets folded in half, but also in such a way that they inserted the half of a third sheet folded in half between two quartos, but in this case, the edges of the pages had to be cut open afterwards along the foldings, at the top or bottom of the quire. Thus, quinios were constituted by five bifolios. Similarly widespread was the quaternio, which was composed of two quartos, i.e., four bifolios. In the case of the rarer senio, a further two quartos were added.

57 Much rarer are the quires compiled of two (binio), three (ternio) or even six (sexternio) bifolios.

58 Since the flesh-side of the parchment sheet is bit lighter and smoother than the hair-side, the parchment-makers, when assembling the quires, took care that in the opened booklets, a flesh-side should be placed next to a flesh-side, a hair-side next to a hair-side, so that the sides aligned together would not clash with each other.

59 In general, quires commenced and concluded with flesh-sides, and thus, the regularly alternating order of the sides could continue smoothly, even if a new quire was bound alongside the original one.

60 A regularly bound codex is built up of periodic pairs of hair-side-hair-side, flesh-side-flesh-side without interruption. This binding order is named after Caspar René Gregory, who was the first to describe it in 1885, and is thus called Gregory's Rule.

61 For several generations in the workshops, however, less care was taken with the model-books in use. Since it was uncomfortable to draw directly into the thick, massive volumes, the medieval masters drew instead on individual sheets at first, on bifolios, and later into separate quires.

62 The well-handled pages and the corners of the first leaf of quires indicate that in the workshops, as opposed to book format, much preferred were the unbound quires of only a few leaves, or the separate 57 Ibid., 70-92. 58 On the structural aspects of quires, see L. Guissen, Prolégomènes à la codicologie: Récherches sur la construction des cahiers et la mise en page des manuscrits médiévaux, Ghent 1977, 14-122. 59 Lemaire, Op. cit. (n. 10), 16-21. hU Guissen, op. cit. (n. 58), 21-35. 61 C. R. Gregory, Les cahiers des manuscrits grecs: Comptes rendus de l'Académie des Iscriptions et de Belles Lettres, Paris 1885, 261-68; in English: "The Quires in Greek Manuscripts." American Journal of Philology 7, no. 1 (1885), 1-6; reprinted and supplemented with commentary, see Guissen, op. cit. (n. 58), 14-20. 62 Elen, op. cit. (n. 2), 30-31, 44; Serieller, op. cit. (n. 1), 38. This practice is verified by the codicological analysis questioning the earlier art historical interpretation of the model-book of Villard de Honnecourt, according to which Villard draw first on separate sheets, and only later committed himself to binding them together as a unit, see C. F. Barnes and L. R. Shelby, "The Codicology of the Portfolio of Villard de Honnecourt (Paris, Bibliothèque Nationale, MS FR. 19093)," Scriptorium 42, no. 1 (1988), 20-48.