explore the carvers - list
carvings in Siamois 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: Siamois, 0 capitals in 22 jobs. Active: -. Filtered by Certainty ALL.

  Origin Monument Region Dept Priority Phase Description Decade Detail Date Certainty Job
   Chartres Notre-Dame-de-l'Assomption Perche Eure-et-Loir 1 8 WN(a+) 1130 1134 1
   Mans, Le Saint-Julien Outliers Sarthe 1 1 nave walls 1100 1108 2
   Etampes Notre-Dame-du-Fort Parisis Essonne 1 13 choir (c+) 1120 1126 3
   Mans, Le Saint-Julien Outliers Sarthe 1 6 nave (t) 1130 1138 4
   Paris Saint-Germain-des-Près Parisis Paris 1 11 ambulatory (a) 1140 1142 5
   Maule Saint-Nicolas Meulanois Yvelines 2 4 apse (aw) 1110 1117 6
   Paris Saint-Pierre-de-Montmartre Parisis Paris 2 2 e crossing (c+) 1120 1124 7
   Marolles-en-Brie Saint-Julien-de-Brioude Parisis Val-de-Marne 2 2 rib shafts 1100 1105 8
   Bury Saint-Lucien Therain Oise 2 5 w nave (a) 1110 1114 9
   Villeneuve-sur-Verberie Saint-Barthélémy Senlisis Oise 3 1 apse 1160 1162 10
   Lierval La Nativité Laonnois Aisne 3 2 east (a) 1140 1144 ?? 11
   Angers Saint-Aubin Outliers Maine-et-Loire 3 3 s cloister 1100 1109 12
   Damery Saint-Georges Marne Marne 3 2 crossing (c) 1140 1146 13
   Villennes-sur-Seine Saint-Nicolas Meulanois Yvelines 3 1 east 1110 1115 14
   Ansacq Saint-Lucien Therain Oise 3 1 nave 1110 1116 15
   Villennes-sur-Seine Saint-Nicolas Meulanois Yvelines 3 4 west (c) 1120 1122 16
   Avrechy Saint-Lucien Beauvaisis Oise 3 1 apse 1110 1119 17
   Ivry-la-Bataille Saint-Benoît Perche Eure 3 1 portal 1120 1121 18
   Warluis Saint-Lucien Beauvaisis Oise 3 2 tower I 1120 1120 ! 19
   Pont-Saint-Mard Saint-Medard Laonnois Aisne 3 2 east 1070 1078 20
   Labruyère Saints-Pierre-et-Paul Therain Oise 3 1 east 1070 1076 21
   Martinvast Notre-Dame Outliers Manche 3 1 apse 1120 1122 22