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

folios constitute exactly a quinio (ff. 2+15,3+14,4+13,5+12,6+11). This, meanwhile, is one of the most commonly employed types of quires.

75 Since the first workshop drew only on these five bifolios, it seems most certain that the model-book initially was composed of this single quinio. There are several arguments in favour of accepting the order of the parchment sheets within this quinio as the original. Not a single one of these five folded parchment sheets has been exhibited before, and thus, the probability is less that they would have become mixed up. Moreover, the parchment sheets demonstrate an arrangement in accordance with Gregory's Rule, i.e., in the opened quire, alternating flesh-side-flesh-side, hair-side-hair-side pairs of pages succeed each other (see chart l).

76 But the originality of the arrangement of these five bifolios is also supported by uniformity of motifs within the quire, to which Loránd Zentai paid particular attention. It is a common feature of the Late Gothic animal model-books of Lombardy and their descendants of fifteenth-century Florence that the individual animal species and motifs are arranged in small groups of two or three on a page/

7 The earlier drawings of the Budapest Model-book likewise manifest this type of clear, lucid arrangement, but here are aligned the drawings of the master of the second workshop, as well. But after the model-book was full, the depictions of the master of the second workshop began to proliferate, filling the remaining empty spaces between the earlier drawings. On the leaves of the Budapest Model-book, finally, in spite of the congestion springing from the constraint of the economical use of space, the individual animal species and motifs constitute for the most part smaller groupings. Loránd Zentai took notice of this first and foremost, and this characterises the arrangement of the animal drawings of the quinio, as well. Finally, in the quire, there is a representation of an eagle on double-page by the master of the second workshop (bff. III—IV, ff. 13v-14r), which indicates that at the time of drawing, these two pages were already bound next to each other. This drawing is one of the cardinal proofs of the fact that the master of the second workshop originally drew in the quire - and not subsequently bound it. Paging through the quinio (bff. II-VI), the quire comprising ten leaves used by the first workshop begins with the later f. 2r (bf. II), its centre is composed of the ff. 6v-l lr (bf. VI), and finally, it concludes with the later f. 15v. The drawings of the first workshop range from the first side of the quinio (later f. 2r) all the way up to the former f. 7v (later f. 12v), and finally three blank leaves (later ff. 13v-15v) close the quire. The master of the second workshop inherited the model-book in this condition, and at first he draw onto the empty sides (ff. 13r-15v), and subsequently attached three new folded parchment sheets (bff. I, VII, VIII) to the quire. In an effort to disrupt the structure of the quire to the smallest extent, he had to distribute the 5 The Rothschild Model-book is likewise comprised of a single quinio, see n. 2. 6 In this case, both outer sides of the closed quire are hair-sides (ff. 2r, 15v), the first opened pair of sides are flesh-sides (ff. 2v-3r), and this is then followed by a pair of hair-sides (ff. 3v-4r), etc. 7 Ames-Lewis, op. cit. 1981 (n. 1), 63-64; Elen, op. cit. (n. 2), 121-25.