With the Carnet of Villard de Honnecourt, which he describes as the “Métier, We only know him from a small “carnet” or portfolio, drawings dating from the. Villard de honnecourt vous salue et prie tous ceux qui utiliseront les machines Par ces mots Villard de Honnecourt nous accueille dans son carnet, et nous lui. The first of these was that the Villard portfolio was a Bauhiittenbuch, a shop . Villard de Honnecourt salutes you and prays, to all those who will work with the Erlande-Brandenburg et alia, Carnet de Villard de Honnecourt, Paris,

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On the front cover to the left of the overlapping flap are two identical extrusions, the upper 1. Sound-images are still not sclerotized into actual representations, like visual images, but they really have the force ds a vibrating, floating image.

Le site de Villard de Honnecourt

The sequence shown is that encountered from left to right on the folios and is not chronological. Shelby have argued that this view is insupportable 5. Our detailed codicological investigation of the Villard portfolio offers evidence that Hahnloser was incorrect in asserting that so many leaves have been lost, and corrects the persistent view that those which remain have been extensively rearranged 8. Nor is the highly articulate sound world of Graindelavoixnow deployed on the newly-released Ossuaires album from Glossa, reminiscent of typical recordings of medieval music.


What Villard had were individual sheets of parchment on which he made drawings of diverse subjects at different times He then put the quires into the sequence that he desired There is good evidence that this quire was always small and is in the order Villard left it.


And because the object is now protected with embellishments, and thus invisible, the fascination and sensation can do its work At the same time the recording of Ossuaires starts from a visual, tactile experience which are the drawings of Villard.

This originally was a large quire of five integral bifolios, but since Villard’s time two leaves have been removed, leaving a total of eight leaves in this quire.

At some undetermined time in his life, Villard decided to reconstitute his portfolio of loose parchment leaves into what he thought of as a book: This may be proof that in this one instance, at least, Villard bought used parchment.

Another link is of course the idea of compagnonnage or companionship, creating networks on which an international web of artists could meet and exchange ideas, experiment and bring them into practice, in the same way as carried out by Debord and the Internationale Situationniste.

The same may have been done with original fol. View more global usage of this file. We can be certain that fols. Our study will pose and answer five important questions about the Villard portfolio:. The available evidence is frag. Original Sequence of the Leaves within the Quires.

File:Villard de Honnecourt.djvu

The problem here is that Page criticizes comparisons between objects visual with musicalsymbols, meaning, i. The 13th-century pagination ends on fol. This thesis was possible only because Hahnloser reorganized the hnonecourt and hypothetically filled in gaps to create a more ve and thorough schema for Villard than is present in the portfolio now or could have been present in it originally.

We know this because on fol. Shelby Usage on fr.

Villard de Honnecourt – Wikipedia

I have no idea how I serve them! In a technical sense, the portfolio never became a bound book; it remains a portfolio into which parchment leaves have been stitched, as described above. The second was that only about half of Villard’ s ivllard leaves of drawings now survive 3.


This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author’s life plus 70 years or less. We conclude that since Villard’s time there has been a loss of two ds from this quire, and that Hahnlo- ser’s reconstruction of this quire is correct.

I want to be a nurse who bandages the works of art to protect them for their opinions, interpretations and explanations. If these questions are ever to be answered, it is necessary to approach MS Fr. For Quire I, the most fundamental evidence for the 13th-century arrangement is the pagination of C As demonstrated above in our analysis of the sequence of the quires, fol.

Villard de Honnecourt

As Robert Willis first observed in 29the inscriptions came after the drawings, for in many instances they were carefully fitted around drawings See PL 4 b. The vertical alignment drawings on this bifolio and the inscriptions on fols, lv and 7r prove that the current top of this bifolio was also its top in Villard’s time Tempo, phrasing and ornamentation are of course very strongly dependant on the acoustics of a church.

The inscriptions attributable to Villard were done quickly, with a single quill and with uniform inking 31and reflect the use of oral language, as though Villard dictated the text to himself or to someone else.