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carvings in Olivier-C manner

Carver Filter

Active dates filtered by Certitude: X Within the three Confidence groups the designs on each capital have been separated into five levels of Certitude. This separates carvings that could reasonably be attributed to an individual carver from those that have only minimal relationship to any original template. Those few noted '!!' are the core for identification and were most probably carved by the same man, while those noted '??' were clearly carved by others using a similar design. The inbetween indicate various levels of certainty. The assessments have been made by examining how closely a capital has followed the template in the '!!' group, the manner of carving and the decorative niceties. '!!' (and to a lesser extent '!') form the core group, and the rest are less likely candidates. Those that look as if they were produced by a student are usually noted '?' or '??'. This work is presented publicly in spite of its many imperfections so you may assess progress to date. I have used names so they are easier to remember, but each could represent a template used by many. Enjoy the beauty and skill in these capitals that has held me captivated for over fifty years.
!! ! !? ? ??	All

Confidence:

Within the three Confidence groups the designs on each capital have been separated into five levels of Certitude. This separates carvings that could reasonably be attributed to an individual carver from those that have only minimal relationship to any original template. Those few noted '!!' are the core for identification and were most probably carved by the same man, while those noted '??' were clearly carved by others using a similar design. The inbetween indicate various levels of certainty.

The assessments have been made by examining how closely a capital has followed the template in the '!!' group, the manner of carving and the decorative niceties. '!!' (and to a lesser extent '!') form the core group, and the rest are less likely candidates.

Those that look as if they were produced by a student are usually noted '?' or '??'.

This work is presented publicly in spite of its many imperfections so you may assess progress to date. I have used names so they are easier to remember, but each could represent a template used by many.

Enjoy the beauty and skill in these capitals that has held me captivated for over fifty years.Confidence filters the carvers listed in the left column. They are all the carvers/manners that I have been able to gather so far, and named. They are displayed in the following three levels that reflect my confidence in the attributions.

** LOW Confidence: Similar in manner but clearly by many carvers: This is the first step to group capitals with similar templates, no matter how varied the detailing.

** MEDIUM Confidence: Similar with a possibility that the more Certain were the work of one team. In this second stage the individual carvers were separated from those by colleagues or by students.

** HIGH Confidence: Similar with a patent probability that many were carved by one individual.

The combination of High Confidence and the highest two levels of Certainty '!!' and '!' are the most realistic identifications of the carvers I have yet made.

High
Medium

Carving styles (0 total)

carver?

mode?

Mode of a template offers a quick way to sort by type, such as ‚ÄúB‚Äù 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

...Simples are the foundation for foliates

The Ark of God

Click here for the geometry.

......Distinguishing the Rinceau carvers from the Master Carvers Series #03. Click here for Rinceau arrangements.
.........Dating procedures from the Master Carvers Series. Click here for chronology procedures.
............Workshop procedures summary from the Laon gallery analysis. Click here for workshop procedures.

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.

The Rinceau Carvers

Map
Gathered
Photo 1
Photo 2
Description

Norman cushion layout with occasional foliage on the underside of the cushion. Increased use of foliage. No creatures.[..]
Norman cushion layout with occasional foliage on the underside of the cushion. Increased use of foliage. No creatures.[..]
List

Carver: Olivier-C, 2 capitals in 39 jobs. Active: 1085-1120. Filtered by Certainty ALL.

Origin	Monument	Region	Dept	Priority	Phase	Description	Decade	Detail Date	Certainty	Job
Acy-en-Multien	Saints-Pierre-et-Paul	Soissonais	Oise	3	2	tower base	1090	1090		1
Airaines	Saint-Denis	Outliers	Somme	3	1	nave	1110	1114		2
Berneuil-sur-Aisne	Saint-Remi	Soissonais	Oise	3	2	nave (c)	1090	1094		3
Bonnesvalyn	Saint-Martin	Soissonais	Aisne	3	14	tower III	1140	1140		4
Bonnesvalyn	Saint-Martin	Soissonais	Aisne	3	3	south-w (a)	1080	1085	!	5
Bonnesvalyn	Saint-Martin	Soissonais	Aisne	3	12	apse (a)	1110	1118		6
Bonneuil-en-Valois	Saint-Martin	Soissonais	Oise	3	3	tower II	1070	1077		7
Bouconvillers	Saint-Étienne	Vexin	Oise	3	1	tower base, 1	1090	1091		8
Celles-lès-Condé	La Nativité	Marne	Aisne	3	2	tower I, 2	1080	1081		9
Châlons-en-Champagne	Saint-Étienne	Châlonais	Marne	1	1	crypt	1080	1085		10
Chartres	Saint-Pierre	Perche	Eure-et-Loir	1	1	choir (a)	1090	1090		11
Chivy-lès-Étouvelles	Saint-Pierre	Laonnois	Aisne	3	6	nave (a)	1080	1085		12
Chivy-lès-Étouvelles	Saint-Pierre	Laonnois	Aisne	3	3	crossing (a)	1080	1082		13
Condé-sur-Aisne	Saints-Pierre-et-Paul	Soissonais	Aisne	3	1	east	1110	1114		14
Courville	Saint-Julien	Soissonais	Marne	3	2	nave (a)	1080	1084		15
Crusade I								1095-		-
Évreux	Notre-Dame	Perche	Eure	2	1	nave 1-2	1120	1120	!	16
Lastingham	Saint Mary	Outliers	North Yorkshire	3	1	crypt	1080	1081		17
Latilly	Saint-Laurent	Soissonais	Aisne	3	3	tower	1110	1118		18
London	Tower Chapel	Outliers	Greater London	2	1	chapel	1080	1081		19
Longueval-Barbonval	Saint-Macre	Soissonais	Aisne	3	2	tower	1080	1085		20
Marolles	Sainte-Genevieve	Soissonais	Oise	3	1	crossing	1110	1110		21
Morienval	Saint-Denis	Senlisis	Oise	2	12	apse (a)	1100	1102		22
Mortefontaine	Saint-Hilaire	Senlisis	Aisne	3	1	tower	1070	1078		23
Oulchy-le-Chateau	Notre-Dame	Soissonais	Aisne	2	1	east (a)	1070	1079		24
Oulchy-le-Chateau	Notre-Dame	Soissonais	Aisne	2	3	tower I	1080	1084		25
Pierrefonds	Saint-Sulpice	Senlisis	Oise	3	1	crypt	1080	1080		26
Pierrefonds	Saint-Sulpice	Senlisis	Oise	3	2	narthex	1080	1086		27
Pogny	Notre-Dame-de-la-Nativite	Châlonais	Marne	3	1	nave	1110	1118		28
Ponthion	Saint-Symphorien	Châlonais	Marne	3	1	nave	1080	1089	!!	29
Presles-et-Thierny	Saint-Georges-et-Saint-Quirin	Laonnois	Aisne	3	1	east (aw)	1070	1078		30
Retheuil	Saint-Aubin	Soissonais	Aisne	3	2	tower I	1080	1080		31
Retheuil	Saint-Aubin	Soissonais	Aisne	3	3	tower II	1080	1082		32
Saint-Germain-la-Ville	Saint-Germain	Châlonais	Marne	3	1	nave	1080	1088		33
Saint-Leu-d'Esserent	Saint-Nicolas	Therain	Oise	1	3	narthex (g)	1110	1115		34
Saint-Leu-d'Esserent	Saint-Nicolas	Therain	Oise	1	2	narthex (a)	1110	1112		35
Saint-Martin-de-Boscherville	Saint-Georges	Outliers	Seine-Maritime	2	4	north, south (a)	1120	1126		36
Saint-Martin-de-Bréthancourt	Saints-Pierre-et-Paul	Perche	Yvelines	3	3	nave piers	1120	1125		37
Soissons	Saint-Léger	Soissonais	Aisne	2	1	crypt	1080	1088	!!	38
Thourotte	La Nativite	Noyonnais	Oise	3	1	church	1150	1158		39

explore the carvers - list carvings in Olivier-C manner

Carver Filter

Carving styles (0 total)

carver?

mode?

confidence?

Map

Gathered

Photo 1

Photo 2

Description

List

Carver: Olivier-C, 2 capitals in 39 jobs. Active: 1085-1120. Filtered by Certainty ALL.

explore the carvers - list
carvings in Olivier-C manner