explore the carvers - list
carvings in Stolide 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: Stolide, 0 capitals in 21 jobs. Active: -. Filtered by Certainty ALL.

  Origin Monument Region Dept Priority Phase Description Decade Detail Date Certainty Job
   Courville Saint-Julien Soissonais Marne 3 2 nave (a) 1080 1084 1
   Arthies Saint-Aignan Meulanois Val-d'Oise 3 2 east 1090 1091 2
   Saint-Leu-d'Esserent Saint-Nicolas Therain Oise 1 3 narthex (g) 1110 1115 3
   Bury Saint-Lucien Therain Oise 2 6 e nave (c) 1110 1116 4
   Lavilletertre Notre-Dame-de-la-Nativite Vexin Oise 3 3 w nave (a-) 1110 1116 ! 5
   Lavilletertre Notre-Dame-de-la-Nativite Vexin Oise 3 4 west portal 1110 1117 6
   Jumièges Musée Outliers Seine-Maritime 1 1 Unknown 1120 1120 ! 7
   Reims Saint-Remi Reimois Marne 1 3 nave (a) 1120 1125 8
   Bourgogne Saints-Pierre-et-Paul Reimois Marne 2 3 east 1130 1130 9
   Saint-Denis-en-France Saint-Denis Parisis Seine-St-Denis 1 8 narthex aisle (a) 1130 1132 10
   Montévrain Saint-Remy Brie Seine-et-Marne 3 1 tower base 1130 1133 11
   Bougival Notre-Dame-de-l'Assomption Parisis Yvelines 3 1 crossing 1130 1136 12
   Bruyères-et-Montbérault La Visitation Laonnois Aisne 2 7 east (c+) 1130 1136 13
   Étampes Saint-Martin Parisis Essonne 2 1 choir (a) 1130 1136 14
   Rochester Cathedral Outliers Kent 1 1 west portal I 1130 1137 15
   Berzy-le-Sec Saint-Quentin Soissonais Aisne 3 1 apse and first bay 1150 1150 16
   Boullarre Saint-Étienne Soissonais Oise 3 3 east (c) 1150 1155 17
   Courmelles Saint-Georges Soissonais Aisne 3 2 east walls 1150 1157 18
   Glennes Saint-Georges Soissonais Aisne 3 4 north-w 1160 1160 19
   Cuise-la-Motte Saint-Martin Soissonais Oise 3 1 east, crossing 1160 1164 20
   Glennes Saint-Georges Soissonais Aisne 3 6 s chapel (b) 1160 1164 21