explore the carvers - list
carvings in Pietro manner

Carving styles ( 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: Pietro, 4 capitals in 34 jobs. Active: 1131-1132. Filtered by Certainty ALL.

  Origin Monument Region Dept Priority Phase Description Decade Detail Date Certainty Job
   Brumetz Saints-Crépin-et-Crépinien Soissonais Aisne 3 3 crossing e 1140 1144 ! 1
   Arcy-Sainte-Restitue Saint-Martin Soissonais Aisne 2 4 s nave (a) 1160 1165 2
   Urcel Notre-Dame-de-l'Assomption Laonnois Aisne 3 12 nave (a) 1150 1155 3
   Lhuys Saints-Médard-et-Gildard Soissonais Aisne 3 2 nave (a) 1100 1106 ? 4
   Bruyères-et-Montbérault La Visitation Laonnois Aisne 2 3 choir (a) 1120 1129 ! 5
   Bruyères-et-Montbérault La Visitation Laonnois Aisne 2 5 north raised 1130 1130 6
   Urcel Notre-Dame-de-l'Assomption Laonnois Aisne 3 7 apse 3 1130 1131 7
   Nouvion-le-Vineux Saint-Martin Laonnois Aisne 3 4 tower II (a) 1110 1112 ! 8
   Urcel Notre-Dame-de-l'Assomption Laonnois Aisne 3 9 east 1130 1132 9
   Etampes Notre-Dame-du-Fort Parisis Essonne 1 6 north (a) 1110 1116 10
   Chartres Notre-Dame-de-l'Assomption Perche Eure-et-Loir 1 17 south tower - narthex (a-) 1140 1140 11
   Châlons-en-Champagne Notre-Dame-en-Vaux Châlonais Marne 1 3 crossing 1120 1125 ? 12
   Senlis Notre-Dame Senlisis Oise 1 3 east piers (a) 1150 1155 13
   Senlis Notre-Dame Senlisis Oise 1 6 nave (a) 1150 1157 14
   Villers-Saint-Paul Saint-Paul Therain Oise 3 2 nave (a) 1100 1103 ! 15
   Catenoy Saint-Michel-et-Vaast Therain Oise 3 4 portal 1090 1090 16
   Paris Saint-Martin-des-Champs Parisis Paris 1 6 pier base D (d) 1120 1123 17
   Paris Saint-Martin-des-Champs Parisis Paris 1 13 choir (a) I 1130 1130 18
   Paris Saint-Germain-des-Près Parisis Paris 1 6 nave (c) 1130 1138 19
   Mans, Le Saint-Julien Outliers Sarthe 1 2 south portal 1120 1128 ! 20
   Mans, Le Saint-Julien Outliers Sarthe 1 4 nave piers 1-4 1130 1134 21
   Champeaux Saint-Martin Parisis Seine-et-Marne 3 3 crossing (c) 1130 1132 ! 22
   Château-Landon Notre-Dame-de-l'Assomption Gâtinais Seine-et-Marne 2 5 apse (aw) 1120 1121 ! 23
   Saint-Denis-en-France Apostles Relief Parisis Seine-St-Denis 3 1 altar 1130 1133 ! 24
   Aulnay-sous-Bois Saint-Sulpice Parisis Seine-St-Denis 3 1 east 1130 1133 ! 25
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 14 narthex side openings 1130 1135 26
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 21 choir (u) 1140 1140 27
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 7 narthex aisle (a-) 1130 1131 28
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 22 choir walls (a) 1140 1141 29
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 8 narthex aisle (a) 1130 1132 ! 30
   Chars Saint-Sulpice Vexin Val-d'Oise 2 3 nave (a) 1140 1142 31
   Auvers-sur-Oise Notre-Dame-de-l'Assomption Vexin Val-d'Oise 2 9 east (v) 1120 1126 !? 32
   Bellay-en-Vexin, Le Sainte-Marie-Madeleine Vexin Val-d'Oise 3 2 crossing (a) 1120 1125 ?? 33
   Sens Saint-Étienne Yonne Yonne 1 4 choir walls (a) 1130 1137 34