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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There is little iconographie continuity in this quire. Tempo, phrasing and ornamentation are of course very strongly dependant on the acoustics of a church. Retrieved from ” https: Through his methodical analyses of the individual drawings, Hahnloser enabled scholars to see these drawings with new This honnecourrt elevated the Villard drawings to a high status they previously had not had, a preeminent place in the history of medieval art they still enjoy half a century later.
Do you mean that the music itself evokes images? Permission Reusing this file. The so-called “sketchbook” of Villard de Honnecourt more correctly, an album or portfolio dates to about c.
The original extent of Quire I cannot be reconstructed with absolute certainty The Villard portfolio is approximately This is proved by Villard’s inscription on fol. Nor is the highly articulate cwrnet world of Graindelavoixnow deployed on the newly-released Ossuaires album from Glossa, reminiscent of typical recordings of medieval music. Mancel wrote a brief inscription on fol.
Carl F. Barnes, Jr. Publications on Villard de Honnecourt
The first space is the one of Ossuairesa space connected with territoriality and the ground: Allison Stones for this reference. There are two additional integral bifolios and in the middle of Quire VI. As well as a strong spatial sense to this recording project it has a very visual feel to it. If they discover that all this is also complex, multilayered, virtuosic, and so on, than all the better!
Carl F. Barnes, Jr. Publications on Villard de Honnecourt | AVISTA
This accounts for the sequence of four of the seven quires: Second, Hahnloser’s thesis that the portfolio was a is not supported by our analysis. Mancel 37 confirms that the quires have been in their present sequence for at least half a millennium.
A complete 13th- century lettering of the leaves honnecourt have given us specific information on the number and locations of leaves lost before the 15th century. The somewhat crowded inscription by Master II on the tab of fol.
It is more than possible to sing measured polyphony without knowledge of notation, and as people know, you can easily write in your head too. Pagination in the Portfolio [link] Appendix II: The original locations of these leaves in his time can be determined precisely: One must build any interpretation of Villard’s intention on the basis of what is currently in the portfolio, not on hypothetical of a document that would have been nearly double its extant size and different from the present ordering of the quires and the leaves within these quires.
It is a demonic piece, I think, and moreover it is about what comes up from subterranean depths if you knock too hard on the ground This is definitely not about the question of whether ornaments were added or not, or if this or that ornament was appropriate to the style.
From the foregoing codicological analysis of MS Fr.
In the footsteps of Villard de Honnecourt
Inside this leaf was a bifolio from which fol. This clear distinction between these three programmes is really the result of a lot of work of trying to see clearly and make segments in the chaos of historical flows and substrata. 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 carnt.
I totally understand this. Fortunately, however, the honnecojrt evidence permits a firm reconstruction of this quire. The relative accuracy of Villard’s Chartres rose as distinct from the gross inaccuracies of his Lausanne rose might indicate that Villard drew the Chartres rose in situ and the Lausanne rose long after he had seen it and had forgotten or confused its details.
Probably this has to do with our specific approach to repertories and traditions. This relates not so much to the facts or realities of that time, but rather, one could say, to it virtualities: When he wished to indicate the other half or leaf of a bifolio with intervening leaves, e.