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Carnet de Villard de Honnecourt. d’après le manuscrit conservé à la Bibliothèque nationale de Paris, n ° Description matérielle: p. dont 66 p. de pl. In the footsteps of Villard de Honnecourt Villard de Honnecourt, a 13th century draughtsman, whose carnet or portfolio is still in existence. Review of Alain Erlande-Brandenburg et alia, Carnet de Villard de Honnecourt, in Archives Internationales d’Histoire des Sciences, vol.

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The spears of the two equestrian figures on fol. Quire I The original extent of Quire I cannot be reconstructed with absolute certainty We are making it with almost no budget, no support and most of the crew have never made a real feature film and that includes me. cranet

History of Machines – Storia delle Macchine: Villard de Honnecourt

I simply ask myself which effect a piece or parts of a piece want to generate. It is interesting that once the portfolio left villlard hands, someone found it necessary to attempt a scheme. In this sense I see that there is an important job of work for the artist who is concerned with old art and music to set against that of the exegetes or academics: Shelby has also demonstrated that the conclusion reached by Paul Frankl, based on Hahnloser’s Bauhiittenbuch thesis, that the Villard portfolio was a Lehrbuch, a textbook used to instruct medieval masons, is untenable 6.

One of these inscriptions refers to the drawings of the Reims Cathedral nave elevations on fol.

Le carnet de Villard de Honnecourt | Pancarte | Pinterest | Drawings, Art drawings and Medieval art

We can be certain that fols. On what do you base your approach? Quire IV Quire IV is a precious document because it is exactly the way Villard left it and proves decisively that not all quires originally were the same size. Villard also added, or caused to be added, inscriptions to many of the leaves These leaves vary in height and width, but they fall within a range of cm tall by cm wide Inside villatd leaf was a bifolio from honnrcourt fol. He was possibly trained as a metalworker.


You are in the process of making a film around the subject of Ossuaires. These in turn were used to tie leather thongs from the now-lost left edge of the flap.

The table below shows in tabular form these various pagination schemes, the ink blots produced on some facing leaves by the rapid work of C and Mancel, and other adjustments to the pagination.

After an intensive survey of almost all Gothic churches in the region of Villard de Honnecourt possibly he was born in Picardy we decided to make the recording in the church of Saint-Yved-en-Braine, not far from Soissons. If the document is multi-page you may use the controls on the right of the image to change pages.

I vllard say that I have been wanting to do this for a very long time, and if you want something you not only go for it but also you prepare in secret!

From the foregoing codicological analysis of MS Fr. Cqrnet this has to do with our specific approach to repertories and traditions. However, Page — in my opinion — threw the baby out with the bathwater! Various pieces of circumstantial and physical evidence point to the conclusion that the leaves were not actually stitched into the portfolio while it was still in Villard’s possession.


File:Villard de Honnecourt.djvu

The missing folio or bifolio, and possibly the inner face of the lost half of fol. Cadnet summary, Quire VI now consists of three original true bif oliosand 28and one manufactured bifolioa total of eight leaves.

Quire VII has lost more leaves than any other quire in the portfolio.

What made you feel that they could be all connected into one unity? This claim is unjustified and unpersuasive. The original extent of Nonnecourt I cannot be reconstructed with absolute certainty Originally it was thought to have served as a kind of training manual for practicing architects. There is little iconographie continuity in this quire. But we have found no evidence to suggest that this pagination is inconsistent with Villard’s sequence of quires and leaves.

Villard de Honnecourt

One example has already been in discussing the linkage between Quires IV and V, namely, Villard’s statement. How does a work like this fit into your carneh of music from the fourteenth century?

The film is a work of fiction and the result of a brainstorming session on how to present the musical repertories around Villard de Honnecourt.

The problem here is that Page criticizes comparisons between objects visual with musicalsymbols, meaning, i.


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