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

model sheets that were easily lifted out from portfolios.

63 This was advantageous, not only because it is easier to work with separate drawings or thin booklets, but also because worn-out sheets to be discarded could be easily replaced, with no particular difficulty. There were, however, some workshop masters who preferred the codex-like drawing-books.

64 Jacopo Bellini planned both of his drawing-books in advance, and he purchased exactly the amount of parchment and paper that were needed for the two volumes.

65 In such cases, just as the manuscripts of the scriptoria, the drawing-books were produced in sections, in separate quires, which were bound together only at the very end.

66 But while in the case of the codex, at the end of each quire the order was precisely marked (redamans), with the drawing-books, this was not considered important: either the draughtsman himself bound the individual quires, or he simply was not concerned with their order.

67 The model-books known today that are bound as codices reflect the attitude of the collectors of later eras rather than the workshop practise of the age.

68 From the sixteenth century, it is thanks to the rekindled interest in drawings that the still surviving model sheets and model-books arrived into the visual field of the collectors.

69 Model sheets deriving from countless diverse locations were bound into a single volume, but often older model-books were also newly bound, with the addition of, or contrarily, the elimination of sheets. When in the eighteenth century, Jacopo Bellini's parchment drawing-book received a new cover, at the same time, the pages were also rearranged.

70 The Fairfax Murray Model-book, despite its appearance at first glance as an intact, undamaged quire, is in fact two distinct quires bound together much later, just as the renowned Bergamo Book, which likewise was assembled from the sections of several earlier model-book quires.

71 Since the model-books bound at a later date demonstrate little conformity, I can apply the general codicological observations only with certain stipulations. Furthermore, the model-books have remained for us in a state that is often frag63 Serieller, op. cit. (n. 1), 38. Cennini, in his tractate, does not make any mention whatsoever of a codex-like bound model-book, but rather recommends a portfolio (tasca) of paper or wood for the storage of drawings and blank sheets, see Cennini, chap. 29. 64 Serieller, op. cit. (n. 1),40. 65 Both folio volumes of Jacopo Bellini were comprised of 100-100 leaves, of which 10-10 quinios were bound together, and the paper was produced in the exact same paper-mill, moreover, from a single ream of paper. On the Bellini drawing-books, see:-Elen, op. cit. (n. 8). 66 On the illuminated manuscripts, see Alexander, op. cit. (n. 34), 40. On Jacopo Bellini's two-leaf drawings, see Elen, op. cit. (n. 2), 51. 67 Ibid., 41. 68 Scheller, op. cit. (n. 1), 41. 69 On the earlier drawings collections, see Elen, op. cit. (n. 2), 127-33. On the Vasari's Libro, see Corpus 1/2, 628-38; R. L. Collobi, Il libro de disegni del Vasari, 2 vols., Florence 1974. 70 Elen, op. cit. (n. 2), 49-50. 71 On the Bergamo Book, see n. 26.