explore the carvers - list
carvings in Bouquet manner

Carving styles (0 total)

carver?
mode?
 		<p>Mode of a template offers a quick way to sort by type, such as “B” would group. all those with birds.</p> <p>These are the Codes used in Modes</p> <p>2 foliage or tendrils that are separate, two-dimensional</p> <p>3 foliage or tendrils that are crossing or emerging out of another</p> <p>c major part of the foliage placed in the centre of the capital</p> <p>f major foliage on the flanks, supporting the upper corner</p> <p>r rinceau designs, often emerging from the mouth</p> <p>+ more than one row of elements</p> <p># repeatitive items place in rows and layers</p> <p><> foliage connects above the astragal, rather than rising from it.</p> <p>oo elements framed, mainly in rinceau designs.</p> <p>B birds or animals</p> <p>cone the core form is dominant, decoration laid over it</p> <p>e enchancre, though seldom consistent on all capitals.</p> <p>H heads or people</p> <p>geom geometric forms or lines</p> <p>hang foliage hanging, at times from a head or crocket</p> <p>Sp spiral rinceau designs</p> <p>T^ tips of leaves extended and pointing up, or Tv pointing down</p> <p>tree tree-like forms</p> <p>X straps, either crossing or used instead of foliage.</p>
X

Mode of a template offers a quick way to sort by type, such as “B” would group. all those with birds.

These are the Codes used in Modes

2 foliage or tendrils that are separate, two-dimensional

3 foliage or tendrils that are crossing or emerging out of another

c major part of the foliage placed in the centre of the capital

f major foliage on the flanks, supporting the upper corner

r rinceau designs, often emerging from the mouth

+ more than one row of elements

# repeatitive items place in rows and layers

<> foliage connects above the astragal, rather than rising from it.

oo elements framed, mainly in rinceau designs.

B birds or animals

cone the core form is dominant, decoration laid over it

e enchancre, though seldom consistent on all capitals.

H heads or people

geom geometric forms or lines

hang foliage hanging, at times from a head or crocket

Sp spiral rinceau designs

T^ tips of leaves extended and pointing up, or Tv pointing down

tree tree-like forms

X straps, either crossing or used instead of foliage.
confidence?

GATHERING SIMILAR CARVINGS among over 50,000 in this study is the first step in separating the work of individuals. It has been my lifelong intention to identify some of the men who created Gothic. This is a beginning, a work in progress.
Templates were the means by which a masters communicated with his masons, and I presume that carvers were no different. The template is therefore one key element to making attributions among carvers. Among master masons I would refer you to the 250 geometric studies in The Contractors of Chartres.

TYPICAL QUESTIONS might be: What else was going on in the towns where he worked? How long would it have taken to get to distant churches? As the carvers travelled, who did they meet at different sites, and how might this have influenced their carving? Where may men have met and spent time together and shared ideas? How long was a working life, and were their first works carved in adolescence? Are the dates clustered within a reasonable timeframe for an active life? Were carvers employed by one builder or were they independent and peripatetic? On a large job would all the carvers have turned up at the same time, or singly? Did they do other skilled work such as torus moulds or decorative framing, and can we identify them?

FOUR ARTICLES FOUR ARTICLES...Read more
Studies These draft studies have been written as if all carvings were by an individual whereas they can equally be analysed as template modes employed by a number of carvers. The more personal approach was necessitated by the complexity of the data. The drafts will be reconsidered after I have added the rib vault material to the database.
X

These draft studies have been written as if all carvings were by an individual whereas they can equally be analysed as template modes employed by a number of carvers. The more personal approach was necessitated by the complexity of the data. The drafts will be reconsidered after I have added the rib vault material to the database.

Carver: Bouquet, 38 capitals in 18 jobs. Active: 1118-1162. Filtered by Certainty .

  Origin Monument Region Dept Priority Phase Description Decade Detail Date Certainty Job
   Latilly Saint-Laurent Soissonais Aisne 3 3 tower 1110 1118 ? 1
   Montmille Saint-Lucien Beauvaisis Oise 3 1 crypt 1120 1124 !? 2
   Paris Saint-Martin-des-Champs Parisis Paris 1 14 choir (a) II 1130 1131 ! 3
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 8 narthex aisle (a) 1130 1132 !! 4
   Sens Saint-Étienne Yonne Yonne 1 3 choir piers (a) 1130 1136 !! 5
   Angers Saint-Maurice Outliers Maine-et-Loire 1 1 west portal drip 1130 1137 ! 6
   Sens Saint-Étienne Yonne Yonne 1 4 choir walls (a) 1130 1137 !! 7
   Ferté-Alais, La Notre-Dame-de-l'Assomption Parisis Essonne 3 2 east (c) 1130 1139 ! 8
   Ferté-Alais, La Notre-Dame-de-l'Assomption Parisis Essonne 3 3 nave (c) 1140 1140 !! 9
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 21 choir (u) 1140 1140 !! 10
   Paris Saint-Germain-des-Près Parisis Paris 1 10 choir piers (a) 1140 1141 !? 11
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 22 choir walls (a) 1140 1141 !! 12
   Paris Saint-Germain-des-Près Parisis Paris 1 11 ambulatory (a) 1140 1142 !! 13
   Chartres Notre-Dame-de-l'Assomption Perche Eure-et-Loir 1 22 lancet caps interior 1140 1144 !! 14
   Châlons-en-Champagne Notre-Dame-en-Vaux Châlonais Marne 1 7 nave piers 1140 1145 !! 15
   Paris Notre-Dame Parisis Paris 1 3 choir (a) walls 1140 1146 !! 16
   Crusade II 1146- -
   Senlis Notre-Dame Senlisis Oise 1 6 nave (a) 1150 1157 !? 17
   Sens Saint-Étienne Yonne Yonne 1 13 choir (c) 1160 1162 !? 18