Subject Index
In a review of the first edition of this bibliography, Robert Getscher (1983.2) noted, correctly, that the index was inconsistent. It also was incomplete. I have expanded the subject index to make it more inclusive and, I hope, more consistent. The facsimile editions are not included in this index since to varying degrees each concerns itself with virtually every aspect of Villard and his drawings.
Ad Quadratum, Villard’s Use of
in Cistercian church plan (fol. 14v): 1995.3; 2000.6; 2004.10; 2009.4; 2011.5
in “face in the square” (fol. 19v): 1912.1; 2000.6
Ad Triangularum
principle understood by Villard in lectern design (fol. 7r): 1949.4
Aesthetics
Villard’s aesthetics concerning Gothic architecture: 1976.5; 1990.4; 1998.2
drawings include ideas of taste and precise judgments of quality: 1959.3
Amiens, Cathedral of Notre-Dame
Villard’s main vessel elevation of Reims (fol. 31v) anticipates the proportions of: 2004.4
Animal Drawings, Villard’s
based on geometry: 1957.4
bear and swan (fol. 4r) form a rebus of the name Oursigne: 1902.3
compared to those of Pisanello’s Louvre Sketchbook: 1926.2
drawn based on species seen in a menagerie: 1898.1; 1926.2
lion (fols. 24r, 24v) determined by Gedankenbild: 1953.2
lion (fols. 24r, 24v) drawn “from life:” 1927.3; 1960.8
lion (fols. 24r, 24v) drawn from memory of a lion Villard had once seen: 2004.9
lion (fols. 24r, 24v) not drawn from a patternbook or bestiary: 1970.5
lion (fols. 24r, 24v) not drawn from an actual lion: 1991.7; 2009.8
meaning of the porcupine near the lion (fol. 24r): 2002.5
related to contemporary wall painting: 1926.2
tetramorph lion and ox (fol. 13v) based on a manuscript illustration: 1972.3
Antique Sculpture and Painting
sources for Villard’s leaf faces (fols. 5v and 22r) were Gallo-Roman works: 1975.3
source for Villard’s nudes: 1939.1; 1949.2; 1999.4
source for some of Villard’s costumes: 2001.5
source for “Sepulchre of a Saracen” (fol. 6r): 1983.4; 1986.2; 1993.3; 1993.4
Villard’s attitutde about antique prototypes formed in Constantinople?: 2006.3
Villard’s interest in: 1858.5; 1861.2; 1865.2; 1929.4; 1939.1; 1968.4; 1986.2; 2000.6
Arches and Vaults
third-point and fifth-point used by Villard to indicate a pointed arch: 1902.1; 1904.2
correct definition of a three-point arch: 1960.5
Villard the first writer to use the word ogive: 1962.2
pear-shaped vaulting rib (fol. 21r): 1962.2
Architect
variety of skills of medieval architect: 1859.2; 1866.1; 1954.1; 1972.9; 1980.3; 1983.1
Villard as architect questioned/denied: 1973.1; 1979.3; 1986.1; 1990.4; 1990.5; 1995.1; 1996.2; 1987.9; 1989.4; 1991.6, 1993.4; 2000.6; 2001.8, 2004.1; 2009.4; 2009.7; 2010.6
cannot know if Villard was an architect: 1991.4
Villard called an architect: 1849.1; 1858.2; 1858.5; 1859.2; 1864.1; 1876.1; 1984.3; 1887.1; 1888.1; 1888.2; 1894.1; 1898.1; 1902.1; 1904.2; 1905.1; 1910.1; 1925.1; 1926.1; 1932.2; 1943.1; 1944.1; 1948.1; 1952.3; 1953.2; 1960.5; 1962.3; 1966.1; 1968.3; 1973.2; 1973.3; 1975.5; 1984.1; 1985.4; 1990.3; 1990.7 (?); 1993.1; 1995.5; 1998.1
Villard not an architect in modern sense of the word: 1997.1
Architectural Drawings (Villard’s)
are without scale but have rechten mass: 1953.3
based on rejected project drawings: 1912.2; 1993.4; 1998.1
Cambrai and Reims drawings based on visit to sites and on other drawings: 1864.1
comprehensible to any craftsman: 1952.2
copied in part from larger working drawings in various lodges: 1953.3
for the use of other architects who worked under Villard’s direction: 1936.2
innacuraces due to Villard drawing essentials only: 1957.4
inaccurate because Villard eliminated or simplified what he saw: 1966.4
interesting but not those of an architect: 1991.6
not literal copies of tracings of other drawings: 1978.5
not useful to working masons: 1956.1; 1981.4
oldest precise architectural sketches that have comes down to us: 1998.4
plans drawn for his personal use: 1953.3
very summary: 1988.4
precursors of architectural drawings of 16th and 17th centuries: 1988.2; 1995.2
prefigure drawings in the Reims Palimpsest (Reims, Archives de la Marne, MS G.661): 1933.1
principle of design ad triangularum understood by Villard in lectern drawing (fol. 7r): 1949.4
prove that geometry was the basis of design in medieval architecture: 1944.2; 1956.3
drawings of templates (fol. 32r) prove that masons had technical vocabulary: 1971.7
prove that Villard used a compass for certain of his drawings (e.g., fol. 16r: Lausanne rose window): 1965.2
provide insight into architect’s interests and activities: 1960.4
demonstrate that Villard designed architecture from the oputside in: 1949.4
do not include any building Villard designed: 1864.1
permitted construction without large-scale drawings: 1904.2
quality criticized: 1981.2
earliest surviving compendium of architectural drawings: 1950.2; 1998.2
drawing of pier section (fol. 15v) unlikely to be of actual construction: 1977.4
strange that Villard has been considered an accurate draftsman: 1963.2
system of perspective used by Villard: 1978.2
drawings on fols. 22v and 23r prove technology of prefabrication in Gothic architecture: 1977.4
Archimedes Spiral
found carved on a capital at Chartres: 1960.5
understood by Villard and Master II as basis of design: 1960.5
Arras, Pierre d’
Lausanne rose attributed to: 1970.3; 1975.1
Athens, Monument of Philopappos
akin to model of Villard’s “Sepulchre of a Saracen” (fol. 6r): 1983.4
Augustinian Musical Proportions
plan of Cistercian church (fol. 14v) reflects Villard’s knowledge of: 1956.3
Auxerre, Cathedral of St. Etienne
Villard’s figures compared to style of stained glass figures: 1974.2
Bamberg, Cathedral
Villard drawings of Laon tower (Fols. 9v-10r) may have changed design of tower at: 1982.2
Villard not responsible for design of Bamberg towers: 1997.3
Villard’s drawings of leaf faces (fols. 5v, 22r) influenced sculpted reliefs at: 1977.6
Barnes Edition of the Portfolio
Analysis: 2008.3
Baubuch
portfolio termed a Baubuch: 1953.2
Bauhüttenbuch or Hüttenbuch
designation Bauhüttenbuch rejected: 1935.1; 1975.2; 1981.4
portfolio termed a Bauhüttenbuch: 1933.2; 1936.1; 1936.2; 1940.1; 1945.2; 1953.3; 1957.4; 1962.3; 1971.4; 1979.4
Bible Moralisée (Paris, Bibl. Nat. MS lat 11560)
figures designed on geometric basis similar to Villard (fols. 18r, 18v, 19r, 19v): 1955.1
Braine, Abbey Church of St. Yved
relationship to Kassa: 1913.1
Villard as architect of: 1858.3; 1888.2
Bridge
Analysis of the structure of the bridge on fol. 20r added to the portfolio after it left Villard’s possession: 1996.5
Buda(pest), Hungary
Villard may have designed royal palace at: 1971.3
Byzantine Art
consular ivory the source for Villard’s “Sepulchre of a Saracen:” 1939.1
not source for Villard’s “Sepulchre of a Saracen” (fol. 6r): 1986.2
source for Villard’s drawings: 1865.2; 1963.1
“three-circle” scheme for proportions seen in head of Christ (fol. 16v): 1921.1
Villard’s Sleeping Apostles (fols. 17r and 23v) derived from Byzantine models: 1967.1
Cambrai, Cathedral of Notre-Dame
V’s activity at Cambrai dated between 1227 and 1251: 1901.2; dated specifically to 1230: 1879.1; ca. 1230: 1976.6
attributed to Villard: 1849.1; 1854.1; 1858.2; 1858.3; 1888.1; 1894.1; 1901.2; 1909.2; 1928.1; 1929.3;1938.2; 1950.2; 1982.2; possibly attributed to Villard: 1926.1; 1927.1; 1958.3; 1969.4; attribution to Villard denied/questioned: 1858.1; 1864.1; 1902.3; 1976.6
built [édifier] by Godefroy de Fontaines based on designs of Villard: 1971.6
construction completed ca. 1251: 1971.6
drawing of Chartres west rose (fol. 15v) made for use at Cambrai: 1888.1
drawings of Reims (fols. 30v, 31r, 31v, 32r, 32v) intended for use at Cambrai: 1927.1; 2000.5
drawings of Reims (fols. 30v, 31r, 31v, 32r, 32v) are the lost drawings of Cambrai referred to on fol. 14v: 1963.3:
cathedral may have been source of Villard’s work in Hungary: 1913.1
plan (fol. 14v) based on visit to site and on other drawings: 1864.1; 1963.2
plan (fol. 14v) “modernized:” 1953.3
Villard as lay agent of the bishop and/or chapter of Cambrai: 2007.2; 2011.2
Villard’s drawings of Reims give precise idea of the lost drawings of Cambrai: 1963.2
Carnet
portfolio called a carnet: 1859.2; 1985.1; 1987.1; 1987.9; 1990.6; 1997.2
Carpentry
material lost from the portfolio concerned carpentry: 1958.3
Villard was a Gothic master carpenter: 2008.5
Catapult
See Trebuchet
Chartres, Cathedral of Notre-Dame
attributed in part to Villard: 1952.1
drawing of Pride (fol. 3v) based of relief at Chartres: 1888.2
reliefs in cloister house source for wrestlers (fol. 14v) and dice-players (fol. 9r): 1911.1
sculpture sources of Villard’s drawings: 1958.5
Villard at Chartres ca. 1225: 1888.2; 1960.5
Villard possibly at Chartres for dedication of cathedral in 1260: 1911.1
Villard responsible for Reims style in sculpture at Chartres: 1958.5
Villard’s drawing (fol. 15v) of west rose: 1888.1; 1881.2; 1904.1; 1912.2; 1976.5; 1990.3
Villard’s drawing of west rose (fol. 15v) intended for use at Cambrai: 1888.1
Villard’s drawing of west rose (fol. 15v) compared to Cimabue: 1666.1
Villard’s drawing of labyrinth (fol. 7v) not basis of Chartres labyrinth: 2000.7
Villard sculptor of relief figures and statues of south arm: 1977.3
Cistercians
planned [designed?] their own churches: 1990.2
Villard called to Hungary to design one or more Cistercian churches: 1895.1
Villard’s plan (fol. 14v) of a Cistercian church: 1947.1; 1972.2; 1984.2; 1995.3; 2000.6; 2004.10; 2009.4; 2011.5
Villard’s plan (fol. 14v) of a Cistercian church compared to plan of Morimond: 1972.2
Villard employed as an architect by the Cistercian Order: 1952.3
Villard’s trip to Hungary possibly in association with Cistercians: 1971.3
Cleveland Museum of Art
Villard Mourning Mary (fol. 8r) may be of figure now in the museum: 1972.8
Codicology
reconstruction of the portfolio and analysis of leaves lost: 1988.1
use of literary terms in the portfolio: 1987.2
Compagnons du Devoir
Sepulchre of a Sarcen (fol. 6v) symbolizes Villard’s initiation into: 2001.3; 2004.8
Villard a master in : 2004.7
certain of Villard’s drawings reflect ‘passports’ of the compagnons: 2002.4
Constantinople
Villard there 1221-1228?: 2006.3
Corbie, Pierre de
architect of Cambrai: 1997.4
no proof that he was an architect: 1981.4
may be same as Petrus Petri, architect of Toledo: 1895.1
plan (fol. 15r) drawn with Villard based on Vaucelles plan (fol. 17r): 1947.1; 1949.1
plan (fol. 15r) drawn with Villard for Reims: 1859.2
plan (fol. 15r) drawn with Villard is “somewhat monsterous:” 1960.4
plan (fol. 15r) drawn with Villard is a scholastic attempt to reconcile opposites (round and square chapels): 1951.1
plan (fol. 15r) drawn with Villard may have affected triangular vaults at Toldeo: 1865.3
plan (fol. 15r) drawn with Villard related to Vaucelles plan (fol. 17r): 1960.2
Corpus Agrimensorum Romanorum
a source of knowledge for medieval builders: 2006.1
Costumes
Villard’s costumed figures used to indicate different social classes: 2004.6.
Courtenai, Robert, Latin Emperor of Constantinople
Villard’s trip to Hungary possibly due to assocation with: 1971.3
Villard possibly went to Constantinople with, 1221-1228: 2006.3
Crossbow
Villard’s drawing of a crossbow “that cannot miss:” 1986.3
Delorme, Philibert
Villard portfolio drawings precursors of: 1988.2; 1995.2
Dilletante
Villard called a dilletante: 1982.1
Drapery (see also Muldenfaltenstil)
Villard’s steps in drawing: 1981.1
Drawings (Villard’s)
animal drawings from species seen in a menagerie: 1898.1
as examples of costume: 1825.1; 2001.5
as mnemonic devices: 1991.4; 1995.4; 1996.2
as models for stone sculpture: 1948.1; 1973.2
basis of a stained glass roundel in Pitcairn Collection: 1929.1
compared to figures of Ecclesia and Synagoga at Strasbourg: 1967.8
copied from a Musterbuch: 1981.4
distort reality depending on what interested Villard: 1961.3
categories of medieval drawings, including Villard’s: 1987.7
combine practical and theoretical aspects of design: 2000.3
copied from patternbooks: 1935.3
copied from existing designs: 1943.1
costumed figures used to indicate different social classes: 2004.6.
dated: begun ca. 1220s: 1993.4; ca. 1220-1230: 1973.2; ca. 1225-1235: 2001.8between ca. 1225 and ca. 1250: 1998.2; ca. 1230: 1854.1; 1984.2; 1991.4; ca. 1230-1235: 1940.1; 1230-1240: 2001.1; ca. 1230-1240: 1969.2; 1230-1250: 1949.3; ca. 1235: 1971.4; 1972.9; 1943.1; 1999.1; precisely to 1235: 1959.3; first quarter of the 13th century: 1997.2; second quarter of the 13th century: 1902.2; middle of the 13th century: 1955.1; the second half of the 13th century: 1909.2
eagle (fol. 18v) based on ancient astrological pentagon: 1972.5
emotionalism of Crucifixion drawing (fol. 2v [and 8r?]: 1865.2
excellent, but not always accurate: 1932.2
face-in-the-square (fol. 19v) proves geometry basis of medieval design: 1910.1
face-in-the-square shows means of enlarging a small sketch to a larger finished work: 1945.1
figures with facial details based on paintings: 1936.3
figures without facial details based on sculpture: 1936.3
figures without facial details based on sculpture criticized: 1949.3
figure of Pride (fol. 3v) based on a relief at Chartres: 1942.1
foliate faces: 1978.7
geometry as basis of figure drawings: 1854.1; 1858.1; 1982.2; 1989.2; 1999.4; 2000.6; 2001.1
geometry used to transfer from small to larger scale, not for design: 1960.0; 1976.5
geometry used for designs (fols. 18r, 18v, 19r, 19v) arbitrary and in some instances added after the figures were drawn: 1953.2
Villard’s geometry of human face (fol. 1v) from Vitruvius: 1968.5
geometry used to determine forms, not proportions: 1921.1; 2000.6
hammerbeam roofs (fol. 17v) may be theoretical, since surviving examples came later: 1952.2
Humility and Pride (fol. 3v) based on Paris Dado Reliefs: 1964.3
drawings are both imprecise and impractical: 1969.2
inscriptions on fols. 1r and 23v examined under ultraviolet light: 1946.2
inscriptions on fols. 1r and 23v dated to reigns of Henry IV or Louis XIII: 1946.2
instruments used: 1858.1
intended as mnemonic devices: 1991.1
leaf faces (fols. 5v and 22r) based on Gallo-Roman provential works: 1975.3
lion (fol. 24v) drawn from a real lion: 1960.8
lion (fol. 24v) not drawing from nature: 1993.4; 1996.3
lion drawings (fols. 24r and 24v) intended to be realistic: 1947.2
lion drawings (fols. 24r and 24v) influenced by Gedankenbild: 1953.2
lion (fols. 24r, 24v) drawn from memory of a lion Villard had once seen: 2004.9
lion (fol. 24v) modeled after lion at San Marco, Venice: 1947.2
lion (fol. 24v) modeled after lion in Liber Floridus: 1947.2; 1973.6
lion (fol. 24v) based on Aristotelian science: 2001.8
lost (erased) drawing discovered with infrared photography: 1988.2
made in pen and pencil: 1998.1
made to instruct others: 1935.4; 1936.1
models intentionally altered or “improved:” 1858.1; 1881.2; 1860.1; 1902.2; 1911.1; 1912.2; 1936.1; 1982.2; 1960.6
more a riddle than the solution to a riddle: 1925.1
not always clear what was intended: 1961.3
not made in bound portfolio: 1928.1; 1936.3
figures not drawn after sculptures: 2003.4
nude figures “painfully ugly:” 1956.2
palimpsests: (fol. 5v): 1986.2
pêle-mêle character due to high cost of parchment: 1949.3
pendant Crucifixion drawing (fol. 2v and/or 8r) intended as guide for sculptors and painters: 1962.2
percentages of various subject matters:1993.2
prove that geometry was the basis of design in all medieval art: 1969.2
shows degeneration of vocabulary of Antiqui in Champagne: 2003.4
quality criticized: 1858.1; 1858.2
quality praised: 1666.1; 1860.1; 1865.2; 1950.2; 1967.8; 1987.7; 1987.9
related to monumental stone sculpture: 1973.3
reliefs in cloister house at Chartres source for wrestlers (fol. 14v) and dice-players (fol. 9r): 1911.1
sources of: 1858.5; 1864.1; 1865.2; 1983.4 (fol. 6r);
Sepulchre of a Saracen (fol. 6r) based on ancient sculpture: 1983.4; 1986.2; 1993.4
Sepulchre of a Saracen (fol. 6r) based on a tapestry: 1993.3
Sepulchre of Saracen (fol. 6v) reflects Villard’s initiation into the Compagnons du Devoir: 2001.3; 2004.8
Sleeping Apostle (fol. 23v) compared to a bronze sculpture: 1954.3
some based on geometry in Hiberno-Saxon art: 1931.1
standing nude (fol. 11v) based on antique bronze: 1993.3
standing figure on fol. 2r called a selfportrait by Villard: 1991.4
suggest Platonism: 1994.1; 2000.6
superior to 14th-century French drawings: 1865.2
technical drawings not all by Villard: 1977.2; 2000.6
technique of drawings: 1999.4
texts written in the vernacular of the building craftsman: 2000.3
valuable for knowledge of medieval drawing techniques: 1958.4
variety praised: 1865.2; 1904.2; 1972.9; 1987.1; 1987.9; 1989.1; 1993.4; 1998.2
Dürer, Albrecht
Villard design of human faces (fol. 18v) compared to: 1910.1; 1912.1
Villard as great a master as Dürer: 1935.4
Eger, Cathedral of St. Stephen
Villard association with 2007.2
Elizabeth of Hungary, Saint
Villard association with 2007.2; 2011.2
Engineer (Ingeniator)
Villard was an ingeniator: 2009.5
possibly attributed to Villard: 1927.2
Escapement Movement
Villard’s drawing (fol. 22v) earliest known representation in Europe: 1952.1
Estragom, Cathedral
Villard as architect of: 1966.1
Villard as architect of Estragom denied: 1936.1
Estergom, Royal Palace
Villard’s pavement drawing (fol. 15v) taken from Roman work in Palace of Estragom: 1936.1
Euclidian Geometry
portfolio proves it known to 13th-century artisans: 2002.2; 2003.2; 2004.3; 2006.1
Evangelary of Saint-Médard (Paris, Bibl. nat., MS Lat 8850)
used as model for evangelist symbols on fol. 13v: 1972.3
Fellibien (Félibien), Alesso
identified as the Seigneur de Tuilerie near Chartres: 1974.4
source for Villard’s tetramorph (fol. 13v): 1972.3
Fontaines, Godefroy de (1220-1237)
built Cambrai on basis of Villard’s designs: 1971.6
Geometry
as basis of Villard’s figure drawings: 1854.1; 1858.1; 1937.1; 1937.2; 1964.1; 1971.8; 1980.2; 1982.2; 1989.2; 1999.4; 2000.6
explanation of geometric drawings (fol. 20v): 1988.2; 1999.2
face-in-the-square (fol. 19v) proves geometry basis of medieval design: 1910.1; 2000.6
face-in-the-square (fol.19v) drawn in 2 : 3 proportion: 1910.1
geometria practia or constructive geometry: 1957.1; 1972.6; 1983.3
Villard unable to understand or remember basis of design of models he saw: 1968.3
Villard understood geometric and algebric formulas for design: 1966.1
geometric overlays (Fols. 18v and 19r) used to transfer designs of figures from one medium to another: 1984.1
certain drawings represent ‘passports’ of masons and carpenters: 2002.4
significance of Villard’s geometric drawings: 1904.2
Villard’s geometry learned from his master: 1966.1
Villard’s geometry from Platonic geometry: 2004.3
Villard’s geometry learned from translations of Arabic mathematical treatises: 1931.
Villard’s geometry used to make figures and to indicate movement: 1931.1
Villard’s geometry was “constructive,” not “theoretical:” 1972.6
Villard had no single system of geometry: 1964.1
Villard’s use of geometry in designing figures “sheer fantasy:” 1921.1
Villard’s use of geometry for design of human face and body generally arbitrary: 1968.5
Grosseteste, Robert (Bishop of Lincoln)
system of geometry similar to that known by Villard: 1956.3
treatise on geometry similar to that used by Villard: 1931.1
Gyulafehérvár, Cathedral
mason’s mark at Gyulafehérvár attributed to Villard: 1905.3
Villard as architect of Gyulafehérvár denied: 1905.2; 1929.1; 1936.1
mason’s mark at Zsámbék attributed to Villard: 1905.3
Hahnloser Edition of the Portfolio
Analysis: 2008.2
Harvard University MS Typ 120H
attribution of miniatures to Villard questioned/denied: 1949.5
six minatures attributed to Villard: 1914.2
Hiberno-Saxon Art
Villard may have known some examples: 1931.1
Honnecourt (Nord), France
model of Villard’s saw (fol. 22v) in city square: 1993.1
Horologe
horologe drawing (fol. 6v) based on principle of quadrature: 1951.2
horologe drawing (fol. 6v) and Laon tower drawing (fol. 10v) represent principle of reductiones formae et numeri: 1951.2
Horse Harness
Villard drawing of knights (?) on horseback (fol. 8v) proves bit-bridle in use in 13th century: 1912.3
Hortus Delicarum of Herrad of Landesberg
drawings originally kept unbound in a portfolio: 1936.3
Hugo d’Oignies
style contrasted with that of Villard: 2003.5
Hungary
built unspecified, now-destroyed churches in Hungary: 1902.3; 1909.1
excavations at Pilis: 1985.3
Kassa attributed to Villard: 1858.3; 1859.2; 1866.1; 1958.3; 1966.1
Reims window (fol. 10v) drawn for possible use in Hungary: 1859.2?
sent for and employed Villard: 1961.3
trip dated: ca. 1220: 1971.3: ca. 1230: 1904.2; ca. 1230-1235: 1959.4; no later than 1233: 1978.3; ca. 1235: 1936.1; no later than 1235: 1936.2; after 1235: 1960.2; between 1235 and 1250: 1895.1; 1902.3; immediately after Tartar invasion of 1242: 1912.3; 1960.6; 1244-1247: 1872.11913.1; 1949.3; between 1244 and 1251: 1929.2; before 1250: 1950.2; ca. 1250: 1859.2; between 1260 and 1270: 1858.3; as late as 1272: 1928.1
unknown when Villard was in Hungary or what he did while there: 1927.2; 1929.2; 1929.3; 1959.4; 1994.3
Villard called to Hungary by Stephen V; 1858.3
Villard called to Hungary to design one or more Cistercian churches: 1895.1; 1938.1
Villard restored church at Ják after the Tartar invasion: 1905.4
Called to Hungary by Bela IV to build Buda Castle: 1938.2; 1955.3
Villard called to Hungary to take charge of building an unspecified church: 1909.2
Villard may have introduced French technology into Hungary: 1971.2
Villard’s pride in his trip to: 1980.3
Villard second (?) trip to Hungary in 1260s: 1092.2
Villard’s trip to associated with Cistercians: 1966.1; 1971.3
Villard’s trip to, general: 1849.1; 1854.1; 1859.1; 1971.2; 1971.3; 1989.3
Villard worked in Léka: 1905.4
Hydraulic Saw
Analysis of Villard’s drawing (fol. 22v): 2005.4
Villard’s drawing of (fol. 22v) earliest known representation: 1952.1; 1962.5; 1985.1; 1987.9
Inscriptions in Portfolio
dated between ca. 1230 and ca. 1260: 1901.1
different hands: 1901.1
prove Villard knew both French and Latin: 1945.2
sequence of: 1999.3; 2008.4
type of quill used: 1858.1
written in pen and pencil: 1998.1
Inter se disputanto
phrase misattributed to Villard: 1950.2
is a scholastic expression: 1951.1
Jousse, Mathurin
Villard’s portfolio drawings precursors of: 1988.2; 1995.2
Kassa (now Kosice), Cathedral of St. Elisabeth
attributed to Villard: 1858.3; 1859.2; 1866.1; 1928.1; 1949.3; 1959.3
layout akin to that of St. Yved at Braine, which Villard must have known: 1913.1
possibly built by Villard: 1902.03; 1912.4
Villard not associated with: 1866.2; 1971.3
Villard involved only with design/contruction of the foundations: 1913.1
Kigyóspusztai, Hungary
Villard designed belt buckle found at: 1971.3
Kingdom of Jerusalem
Villard trip to: 1983.4
Laon, Cathedral of Notre-Dame
attributed in part to Villard: 1952.1
geometry in design of tower: 1951.2, 1951.3, 1999.2; 2009.6; 2011.3; 2011.4
quadrature basis of the tower plan (fol. 9v): 1935.4; 1949.4; 1951.2; 1951.3; 1953.1; 1999.2; 2000.6
Villard’s comment on tower (fol. 9v) misquoted: 1849.1; 1904.2; 1928.1; 1929.3; 1952.3; 1962.3; 1976.3; 1982.2; 1998.4
Villard’s drawing (fol. 10r) could have been used to restore tower spire: 1912.2
Villard’s interest in the aesthetics of the cathedral: 1990.4; 1991.2
Villard’s tower drawings (fols. 9v and 10r) can be interpreted in contradictory ways: 1955.2; 1990.8
Überwasser (1949.4) fudged his diagram of: 1990.8
Lassus Edition of the Portfolio
Analysis: 2008.1
Latin
Villard did not know: 1990.1
Villard’s knowledge of: 1910.1; 1922.1; 1949.3; 1950.2; 1990.2
Lausanne, Cathedral
choir stall design attributed to Villard: 1858.1
choir stall wrestlers not source for Villard’s wrestlers (fol. 14v): 1911.1
choir stall wrestlers the source for Villard’s wrestlers: 1856.1
extent of Villard’s work at Lausanne: 1999.1
rose attributed to Pierre d’Arras: 1970.3; 1975/1
rose dated between 1217 and 1235: 1975.1; 1980.3
rose design (fol. 16r) drawn from memory: 1858.2
Villard not responsible for tower design at Lausanne: 1997.3
Villard did not understand quadrature design of rose window: 1968.3; 1972.2
Villard’s drawing (fol. 16r) may not be of Lausanne rose: 1970.4
Villard’s interest in rose: 1970.3
Villard’s drawing (fol. 16r), made ca. 1235, proves fameof Lausanne rose: 1975.1
did Villard introduce French Gothic style into Lausanne?: 1856.1
Leonardo da Vinci
Villard compared to: 1858.5; 1971.8; 1976.2; 1987.9; 1998.1; 2000.1; 2003.1
Liber Floridus (Ghent, Universiteitsbibliotheek, MS. 92, fol. 56v)
model for Villard’s frontal lion (fol. 24v): 1947.2; 1973.6
Libergier, Hugues
discussed architecture with Villard: 1928.1
tombstone: 1998.2
Luzarches, Robert de
Villard’s originality compared to: 1865.2
Villard and: 1993.5
Villard more famous than Robert de Luzarches due to portfolio: 1965.1
Lyre Drawings (Evreux, Bibliothèque minicipale, MS 4)
Villard’s drawings contrasted with: 1974.3
Ms. Add. 15219 (London, British Library)
drawing style compared to Villard: 1935.5
Marburg, Elisabethkirche (Church of St. Elizabeth)
Villard not associated with: 1940.2
Masons’ Marks
Villard’s drawing (fol. 32r) of masons’ marks at Reims: 1982.2; 1983.1; 1996.1; 2000.4; 2004.4; 2004.5; 2008.7
Different uses of masons’ marks: 2004.5
Villard’s masons’ marks (fol. 32r) for placement of stones in construction: 2003.3
Mason’s Square
(fols. 20r and 20v): 1973.5; 1998.3
Master II
depended on earlier collections of formulas: 1935.3
designs (fols. 20r and 20v) based on a Picard treatise of ca. 1240-1250: 1957.1
drawings cryptic, difficult to understand: 1957.2
drawings dated ca. 1250: 1960.5
drawings of templates (fols. 20v) analyzed: 1971.7
drawngs permitted prefabrication of stones used in vaults: 1995.2
geometry taken from Vitruvius: 1945.1
geometry was “constructive,” not “theoretical:” 1972.6
keystone design (fol. 20v, top row) based on Archimedean spiral: 1960.5
mason’s square (fols. 20r and 20v): 1998.3; 1970.6
more accurate than generally given credit for: 1960.5
not a pupil of Villard: 1975.2
principle of quadrature known by Master II: 1945.1; 1960.5; 1960.6; 1973.5
principle of quadrature may not have been known to Master II: 2000.6
successor to Villard in a building lodge [at Saint-Quentin?]: 1945.2; 1950.2
use of geometria practica (fols. 20v, 21r): 1957.1; 1983.3; 1988.2; 2000.6
work dated ca. 1260: 1945.1
Master III
successor to Villard in a building lodge [Saint-Quentin?]: 1945.2; 1950.2
not a pupil of Villard: 1975.2
Villard Mourning Mary (fol. 8r) in style of Master Gérard: 1972.8
Meaux, Cathedral
attributed to Villard: 1928.1
Villard drawing (fol. 15r) proves layout of original plan: 1967.6; 1971.5; 1989.1
Villard’s plan (fol. 15r) compared to plan (fol. 17r) of Vaucelles: 1967.6
Meaux, Church of St. Faron
attributed to Villard: 1928.1
Mechanical Devices
mechanical device for lifting a heavy weight (fol. 22v): 1901.3
mechanical device for turning an angel to face the sun (fol. 22v) called “très grossier:” 1876.1
Villard’s interest in: 1948.2; 1976.1; 1986.3
Meran, Gertrude de (d. 1213)
Villard may have sculpted Gertrude’s tomb: 1971.3; 1974.1; 1977.3; 1978.2
no proof that Villard was executant of her tomb: 1997.3
tomb in Cistercian abbey church at Pilis: 1006.3
Metal
no indication in portfolio that Villard was interested in metal in construction: 2005.2
Metalworker
Villard trained as: 1981.1; 1986.1; 1988.4; 2005.2
Villard not a metalworker: 2003.5
Villard drew silver and goldwork: 1999.5
Villard may have been a metalworker: 2009.8
Monreale, Sicily, Cathedral
Villard’s sleeping apostle (fol. 17r) compared to Garden of Gesthemene figure: 1967.5
Montreuil, Pierre de
Villard more famous than due to the portfolio: 1965.1
Morimond, Cistercian Abbey Church
plan compared to Villard’s Cistercian church plan (fol. 14v): 1969.1
Muldenfaltenstil
Villard’s skill at rendering: 1967.1; 1970.5; 1981.3
V’s use of as models for stone sculpture: 1973.2
Villards’ figures based on Parisian Maudenfaltenstil: 1974.2
Villard may have studied Muldenfaltenstil works of Nicolas of Verdun: 1975.5
Near East
Villard trip to: 1983.4
Villard visited, 1221-1228?: 2006.3
Nudes
antique bronze statuettes the source for Villard’s nudes: 1939.1; 1999.4
antique figures at Reims served as models for Villard’s: nudes 1949.2
Oignies, Hugo d’
metalwork compared to Villard’s drawing: 1970.5
Oursigne
“dame par amours” of Jean Dcc de Berry symbolized by bear and swan (fol. 4r): 1902.3
Padua, Arena Chapel
Villard’s sleeping apostle (fol. 23v) compared to Giotto’s Joachim’s Dream: 1967.4
Paris, Parish Church of Saint-Germain-l’Auxerrois
Villard’s drawings used in 15th century for certain sculpted details: 2007.3
Cathedral of Notre-Dame
drawings of Humility and Pride (fol. 3v) based on dado reliefs: 1964.3
Paris, Matthew (of)
any connection between Matthew and Villard denied: 1942.1
Villard’s figure of Pride (fol. 3v) and wrestlers (fol. 14v) compared to: 1942.1
Perpetuum Mobile
Possible source for Villard’s drawing (fol. 5r): 1962.5
Symbolic meaning of Villard’s wheel: 2008.6
Why Villard’s device could not work: 2007.1; 2008.6
Petri, Petrus (Architect of Cathedral of Toledo, Spain)
may have studied with Villard and Pierre de Corbie: 1865.3
may be same as Pierre de Corbie: 1895.1
Picardie
intellectual center in the 13th century: 1986.3
Villard from Picardie: 1910.1; 1957.3; 1994.1
Pilis, Hungary, Cistercian Abbey Church
no proof that Villard was executant of: 1997.3
Villard associated with: 1982.2
Villard associated with planning final phase of construction: 1971.3
Villard drew (fol. 15v) pavement in south arm: 1977.3
Tomb slab of a knight in south arm of transept similar to Villard drawings: 2006.3
Platonism
Villard’s philosophical convention suggestive of Platonism: 1994.1
Portfolio
as important for the study of 13th-century art as the Plan of St. Gall is for the study of 9th-century art: 1859.1
number of leaves lost: 13: 1988.1; 17: 1960.6; at least half (i.e., 33) are lost: 1986.3
begun as a sketchbook, became a [shop] manual: 1957.3
binding (cover): 1858.1
called a/an: “album:” 1869.2; 1879.1; 1888.1; 1926.1; 1935.1; 1953:2; 1958.1; 1958.2; 1962.4; 1966.4; 1993.2; 1996.3; 2000.3; “Arbeitsbuch”” 1978.3; “architectural summa scientiae et artis“: 19782.; architectural treatise:” 1982.2; “Baubuch:” 1953.2; “Baühuttenbuch:” 1946.1; 1972.7; ; “book:” 1901.2; 1904.2; “building encyclopaedia:” 1950.2; “cahier de croquis:” 1959.4; “carnet” or “carnets:” 1859.1; 1864.1; 1985.1; 1987.9; 1996.4; “carnet de chantier:” 1984.1; “carnet de croquis:” 1987.1; “comprehensive model-book:” 1969.2; “the first organic treatise on medieval architecture:” 1959.3; “handbook:” 1995.5; “Lehrbuch”: 1978.2; “Lehrbuch” organized in chapters: 1960.6 “livre de l’oeuvre”: 1936.2; “livre de portraiture:” 1959.3; “livre du chantier”: 1936.2; “lodgebook:” 1966.4; 1971.1; 1982.2; 1989.2; 1989.3; 1990.2; 1991.6; “manuscript:” 1902.3; 1904.2; 1945.1; 1987.6; 1987.9; 1995.2; 1997.1; 1997.2; “model book:” 1956.3; 1959.3; “Musterbuch:” 1949.2; 1956.1; 1972.7; 2000.4; “notebook:” 1944.2; 1858.4; 1972.9; 1976.3; 1979.3; 1989.1; 1993.1; 1998.2; 2000.1; 2000.3; Parisian patternbook: 1999.4; “patternbook:” 1835.3; 1936.3; 1977.5; 1999.4; “portfolio:” 1996.2; 1998.2; 1999.2; 1997.1; 2001.6; 2004.9; “private sketchbook”: 1975.2; ” recueil de croquis et des notes manuscrits:” 1872.1; “sketchbook:” 1904.2; 1918.1; 1927.3; 1959.3; 1960.4; 1962.4; 1965.2; 1967.5; 1974.3; 1976.2; 1972.6; 1973.2; 1973,3; 1975.5; 1977.7; 1982.2; 1993.1; 1995.6; 1999.1; 1996.1; 1998.1; 2000.2; 2000.6; “site logbook:” 2002.6; Skizzenbuch”: 1901.1; 1914.3; 1925.1; “teaching treatise” (Trakates): 1940.1; “technical encyclopaedia of the building trades:” 1966.2; “technical manual:” 1928.1; “technical treatise:” 1959.3; “textbook:” 1943.1; “texbook on architecture:” 1958.2; ” vrai encylcopédie:” 1953.2; “véritable encyclopédié:” 1958.3; “stonemasons’ lodge book:” 1998.4; “priceless document:” 1999.4
characterized as a/an: “exemplar for apprentices:” 1989.3; “handbook, compiled for the instruction of apprentice cathedral builders:” 1967.4; more than a mere “album de croquis:” 1931.1; “practical encyclopaedia of building arts and crafts:” 1945.2; “randomly composed sketchbook:” 1974.3; “unique en son genre:” 1959.4; “unique survival:” 1929.3; 1977.7
codicology of: 1987.2; 1988.1
compiled for a great lodge [Saint-Quentin?]: 1945.2
contains notes of every aspect of the building crafts: 1957.4
made for use in a building lodge: 1978.2
contents classified: 1849.1; 1858.1; 1982.1; 1996.2
contents too random to constitute a lodge manual: 1858.5; 1970.5; 1990.5
contents too miscellaneous to constitute an artist’s patternbook: 1962.4
dated: 12th century: 1666.1; begun ca. 1220s: 1993.4; ca. 1220-1230: 1999.4; ca. 1220-1235: 1975.5; 2006.1; second quarter of the thirteenth century: 1976.3; between ca. 1225 and ca. 1250: 1970.1; 1998.2; ca. 1230: 1854.1; 1984.2; 1991.4; ca. 1230-1235: 1940.1; 1230-1240: 2001.1; 1230-1250: 1949.3; ca. 1235: 1963.1; 1972.9; 1943.1; 1999.1; precisely to 1235: 1959.3; first quarter of the 13th century: 1997.2; second quarter of the 13th century: 1902.2; middle of the 13th century: 1955.1; the second half of the 13th century: 1909.2; ca. 1220-ca.1240: 2009.8; ca. 1230-12401960.4; dated to 17th (?) century: 1825.1
dedicated to Villard’s hiers: 1997.1
designation “Skizzenbuch” denied: 1935.4; 1940
dismissed as merely “a collection of drawings:” 1979.2
hands of inscriptions: 1901.1
characterized as a key to understanding Gothic design process: 1914.3; 1964.2; 2004.9
gives good idea of what medieval modelbooks looked like: 1964.2
in Paris in the 15th century
leaves not stitched in cover by Villard: 1996.2
made as a parallel to Vitruvius’ De Architectura: 1976.2
made for instruction of others: 1858.2; 1904.2; 1929.3; 1997.2; 2004.9
made for laymen interested in technology: 1997.4
made for Villard’s personal professional use: 1960.6
made for Villard’s personal use: 1858.5
makes Villard best known of all medieval architects: 1954.1
material lost from the portfolio concerned carpentry: 1958.3
may demonstrate knowledge of Latin Euclid: 2006.1
most important evidence of principles of Gothic design: 1952.3; 1965.1; 1991.6
not a treatise or collection of practical instructions: 1965.1; 1970.7; 1971.7
not a systematic attempt to create a shop manual: 1974.4
number of entries given as between 1215 and 1233: 1982.2
not a model book: 2002.1
not based on an academic treatise: 1975.2
number of leaves lost: 1949.3; 1960.6; 1986.3; 1987.9; 1988.1
only one of its kind before 15th century to have survived: 1961.2
“portfolio” best name for assemblage of Villard’s drawings: 2002.6
probably served as a textbook in Villard’s lodge: 1966.4
proves Gothic craftsmen practiced many arts concurrently: 1967.4
purpose questioned: 1962.4
purpose unknown: 1988.4
rarity of: 1867.2; 1970.7; 1918.1
reveals relationship between architects and academic discipline: 1960.4
should not be called a portfolio: 2011.1
served different purposes at different times: 1960.1
similar to notebooks of Leonardo da Vinci: 1976.2
unique survical of Gothic period: 1972.6
variety of subjects: 1858.2; 1867.2
Psalter of Queen Blanche of Castile (Paris, Bibliothèque de l’Arsenal, MS 1186)
figures style compared to Villard: 1980.2
Psalter of Queen Ingebord of France (Chantilly, Musée Condé, MS 1695)
Villard figure style compared to: 1967.1; 1967.4
Pythagorian Monochord
used by Villard as basis of his geometry: 1946.1
Quadrature
horologe drawing (fol. 6v) and Laon tower drawing (fol. 10v) based on quadrature: 1951.2; 1951.3; 1953.1
is the secret of the medieval masons: 1960.6
principle known to Master II: 1945.1; 1960.6
principle known to Villard: 1958.3; 1960.6
principle may not have been known to Master II: 2000.6
used by Villard for even the smallest details: 1951.3
used by Villard in drawing “rotating masons” (fol. 19v): 1972.2
Ravesv- -, Martin
predecessor to Villard in Hungary: 1876.2; 1909.1
Reutlingen, Cistercian Church of Notre-Dame
church plan engraving compared to Villard’s Cistercian church plan (fol. 14v): 1979.4
Reims, Cathedral of Notre-Dame
antique works at Reims models for Villard’s nudes: 1949.2
attributed in part to Villard: 1952.1
drawing of chapel (fol. 30v) without vaults does not prove Villard was at Reims before the chapel was vaulted: 1967.7
drawing of elevation (fol. 31v) early example of orthogonal rendering: 1997.4
drawing of window (fol. 10v) made for possible use at Cambrai: 1909.2
drawing of window (fol. 10v) made for possible use in Hungary: 1859.2
drawing of window (fol. 10v) made from another drawing: 1859.2
drawing of window (fol. 10v) proves Reims nave under construction by 1232: 1960.7
drawings modify what Villard saw: 1912.2; 2004.4
drawings of Reims frequently inaccurate: 1977.4; 1981.3
drawings of Reims precise: 1999.4
dawings modified to resemble proportions of Amiens: 1972.7; 2004.4
drawings (fols. 30v, 31v) omit vaults to stress three-dimensionality of the vault construction: 1976.5
drawings of male figures (fol. 28r) based on sculpred figures at Reims: 1966.4
drawings of Reims based on other drawings: 1957.4
drawings of details prove how observant Villard was: 2004.4
drawings of Reims inconsistent: 2008.7
drawings of Reims important part of Villard’s drawings: 1888.2
drawings of Reims (fols. 30v, 31r, 31v, 32v) drawn from the building: 1963.2; 1963.3
drawings of templates (fol. 32r) based on earlier work at Reims: 1971.7
drawings of templates (fol. 32r) prove prefabrication of construction: 1977.4
drawings of Reims intended for use at Cambrai: 1927.1; 1963.3; 2000.5
enlarged central triforium colonette (fol. 31v) exaggerated as a scholastic exercise: 1951.1
inaccuracy of drawings of Reims: 1949.4; 1991.4; 2001.2; 2001.9
plan (fol. 15r) drawn by Villard and Pierre de Corbie design for Reims: 1859.2
project changed to less ambitious one after Villard made his drawings: 1961.1
Robert de Coucy a friend of Villard: 1854.1
uncertain when Villard was at Reims: 1927.5
Villard as architect of: 1856.1
Villard as subcontractor for choir aisle windows and triforium: 1982.2 (retracted in 1983.1)
Villard collaborated with architects in design of: 1939.1
Villard influenced by the sculpture of: 1938.1
Villard not architect of: 1888.1; 1892.1; 1894.1; 1895.1
Villard came to Reims from Laon: 1963.3
Villard responsible for Reims style in sculpture at Chartres: 1958.5
Villard’s drawing of masons’ marks at: 1982.2; 1983.1; 1996.1; 2004.4; 2004.5
Villard’s drawings of Reims give precise idea of the lost drawings of Cambrai: 1963.2
Villard’s drawings of Reims are the lost drawings of Cambrai referred to on fol. 14v: 1963.3
Villard’s drawings reveal state of construction at the time of his visit: 1954.2; 1963.3
Villard’s drawings prove work well advanced: 1854.1
Villard’s drawings of Reims windows (fols. 10v, 30v, 31r, 31v) may explain their widespread imitation in Europe: 1967.2
Villard’s interest in the aesthetics of: 1990.4; 1998.2; 2004.4
Villard’s interest in the construction of the windows of: 2006.2
Villard’s visit dated: ca. 1220: ca. 1220 before his trip to Hungary (and again in 1235/1236): 1971.4; 1963.3; before 1221: 2000.5; ca. 1225: 1904.2; ca. 1230; early 1230s: 1966.4; in the 1230s: 1998.2; 2nd quarter of the 13th century: 1954.2; ca. 1240-1245: 1963.2; ca. 1244: “vers l’année 1244”: 1902.21894.1; 1902.2; after achievement of radiating chapels: 1892.1; 1902.2
Reims Palimpsest (Reims, Archives de la Marne, MS G.661)
dated between 1230 and 1240 and between 1263 and 1270: 1958.1
drawings compared to those of Villard: 1933.1; 1958.1; 1978.5
Root 2 (√2)
may not have been known to or used by Villard: 1999.2; 2000.6
Renaissance
mistake to see Villard as precursor of Renaissance: 1938.1
Roupy, Jean de
used Villard drawing of apostle (fol. 23v) as model for tomb of Jean Dcc de Berry: 1902.3
added swan to fol. 4r so that bear and swan became a rebus for Oursigne: 1902.3
Rome
imaginary trip to Rome by Villard dated ca. 1260: 1860.2
Rome, Biblioteca Vaticana, Codex Lat 1976
compared to Villard portfolio: 1862.4
Roriczer, Mathes
Villard’s “face in square” ad quadratum desugn (fol `9v) compared to Roriczer’s: 1912.1
Villard a greater master than Roritzer: 1935.4
Rotation of Squares
See: Quadrature
Saint-Blaisen Psalter
dated ca. 1230-ca. 1235 and compared to Villard’s drawings: 1963.1
Saint-Quentin, Collegial Church
choir dated ca. 1205-1220: 1959.5
drawing in chapel attributed to Villard: 1978.3; refuted: 1978.1; 2005.3
drawing of a Gothic (?) pier: 1987.4; 2005.3
drawing of arches: 2005.3
drawing of a rose window related to Chartres: 1864.1; 1977.2; 2005.3
drawing of a rose window attributed to Villard: 1977.2
drawing of a rose window disassociated from Villard: 2005.3
drawings at compared to Villard drawings: 1995.6; 1996.5
pavement of Chapel of St. Martin based on Villard drawing: (fol. 15v) 1864.1
pavement of Chapel of St. Martin not associated with Villard drawing: (fol. 15v) 2004.2
pavement of Chapel of St. Martin related to Villard’s Hungary trip: 1864.1; 1977.2
portfolio prapared for use in lodge of Saint-Quentin?: 1945.2
Villard as consultant at: 1982.2 (retracted in 1983.1)
Villard as architect of: 1864.1; 1875.1; 1888.2; 1895.1; 1898.1; 1902.3; 1904.2; 1918.1; 1919.1; 1922.1; 1936.2; 1948.1; 1950.2; 1957.3; 1957.4; 1959.4; 1959.5; 1960.7; 1966.2; 1967.3; 1999.1
Villard as second master at, 1220-1230: 1967.3
Villard not architect of: 1872.1; 1987.4; 1995.6; 1968.2; 2005.3
Villard draftsman of choir plan: 1960.6
Villard at Saint-Quentin in the 1220s: 1977.2
Villard at Saint-Quentin before and after his trip to Hungary: 1960.6
Villard contributed the design no later than 1228-1233: 1978.3
Villard’s drawing of labyrinth (fol. 7v) not source for St. Quentin labyrinth: 2000.7
Saw
See: Hydraulic Saw
Villard’s drawing (fol. 22v) earliest known representation in Europe: 1952.1; 1962.5
Scholasticism
relationship between architecture and scholasticism: 1951.1; 1957.1
Villard could follow the arguments of the ‘schools:’ 1990.2
Villard encountered the trivium in a university setting: 1949.3
Villard’s philosophical convention suggestive of Platonism: 1994.1
Villard understood Aristotelianism of his time: 2001.8
Villard’s portfolio reveals relationship between architects and academic discipline: 1960.4
Screw-Driven Hoist
Villard’s drawing (fol. 22v) earliest known example: 1984.1
Secrets of the Medieval Masons
quadrature the secret of the medieval masons: 1960.6
secret not revealed by Villard: 1858.2; 1977.5
secret revealed by Villard: 1950.2
Sing-and-Cry
mechanics of Villard’s sing-and-cry (fol. 9r): 1986.3
Soissons, Cathedral of SS. Gervais and Protais
Villard drew (fol 13v) Descent from the Cross after an ivory in the treasury: 1972.3
Stained Glass
roundel dated ca. 1230 in Pitcarin Collection based on Villard’s drawings: 1929.1
Star Octagon
basis of design of Laon tower: 2009.6
Stereometrical Drawings, Master II’s (fols. 20r, 20v, and 21r)
portfolio proof of 13th-century knowledge of stereometry: 1997.2
stereometric drawings misattributed to Villard: 1904.2; 1984.3; 1987.6; 1995.2; 1995.4
stereometrical drawings precursor of Renaissance stereometrical treatises: 1987.6; 1995.2
Strasbourg, Cathedral of Notre-Dame
Villard’s figures compared to figures of Ecclesia and Synagoga at Strasbourg: 1967.8
Switzerland
Villard executed comissions in: 1989.2
Székesfehérvár
Villard’s pavement drawing from: 1938.2; 1943.2
Têstes de Feuilles
See Drawings, Foliate Faces
“Théroème de Villard”
See Scholasticism
Toledo, Cathedral
architect Petrus Petri may have studied with Villard and Pierre de Corbie: 1865.3
cathedral triangular vaults patterned after Villard (fol. 15r): 1865.3
Trebuchet
analysis of the mechanics of Villard’s trébuchet (fol. 30r): 1988.3; 2004.11; 2005.5; 2009.3
analysis of the caption on fol. 30r: 2009.3
origin of term: 1988.2; 2005.5
Villard’s drawing (fol. 30r) of: 1985.4; 1987.9; 1988.3
working model built after Villard’s drawing: 2000.1
Underwater Saw
Villard’s drawing (fol. 23r) earliest known representation of: 1987.9
Upper Rhineland
Villard traveled through (see Saint-Blaisen Psalter); 1963.1
Valturio, Roberto
De re militari treatise, 1990.6
Vasari, Giorgio
Villard a precursor to: 2009.7
Vaucelles, Cistercian Abbey Church
choir plan (fol. 17v) related to plan devised by Villard and Pierre de Corbie (fol. 15r): 1949.1; 1960.2
dated: 1190-1235: 1947.1; 1949.1; 1216-1235: 1960.2; 1978.6
Villard as architect of: 1865.4; 1902.3; 1904.2; 1914.1; 1918.1; 1947.1; 1958.3; 1960.2; 1967.3
Villard called to plan choir in 1216: 1914.1
Villard destroyed Vaucelles II to build Vaucelles III: 1960.2
Villard received his architectural training at Vaucelles: 1895.1; 1952.3; 1960.2; 1982.2
Villard’s drawing of choir (fol. 17v) only definite connection between him and Vaucelles: 1949.1
Villard’s drawing of plan of (fol. 17v): 1947.1; 1995.3; 1978.6; 2004.10
drawings of Master II permitted prefabrication of stones used in vaults: 1995.2
Villard’s first impulse toward the profession of architect at Vaucelles: 1960.6
Villard’s plan of Vaucelles choir (fol. 17r) copied from another plan: 1976.6
Villard’s plan of a traditional Cistercian church (fol. 14v) is a plan of Vaucelles II: 1960.2; 2009.4
Villard’s work at Vaucelles before he went to Hungary after 1235: 1960.2; 1960.6
Vaults
Villard’s drawing of ‘star vault’ (fol. 21r) is earliest known drawing of this vault type: 1991.4
Villard’s drawing of vault plan (fol. 21r) proves liene and tierceron vaults appeared in France earlier than in England: 1926.1
Villard’s drawing of vaults in groundplans proves vaulting patterns known at outset of construction: 1984.1
Verdun, Nicolas de
Villard may have studied the Muldenfaltenstil works of: 1975.5
Vérin
See Screw-Driven Hoist
Villard
activity dated: between ca. 1190 and mid-1230s: 1982.2; between 1200 and 1250: 1904.1; as early as 1215: 1987.4; to first third of the 13th century: 1989.1; ca. 1220: 2000.2; 1220-1235; 1989.2; 1220s and 1230s: 1996.2; ca. 1220-1230: 2000.4; between 1220 and 1240: 1985.1; 2004.9; ca. 1225-1250: 1979.3; 1230-1235: 1958.1; 1996.3; ca. 1230: 1991.4; between 1230 and 1250: 1858.2; 1949.3; between 1230 and 1260: 1864.1; ca. 1235: 1957.4; 1958.2; 1962.3; ca. 1250: 1928.1; in second half of the 13th century: 1909.2; as late as 1300: 1866.1
aesthetic interests in Laon and Reims: 1990.4
Archimedean spiral understood by Villard as basis of design: 1960.5
architect of: Braine: 1888.1; Cambrai: 1849.1; 1854.1; 1856.1; 1879.1; 1888.1; 1909.2; 1928.1; 1976.2; 1982.2; Kassa: 1857.1; 1859.2; 1866.1; 1928.1; 1966.1; Meaux: 1856.1; 1928.1; Reims: 1856.1; 1982.2; Saint-Quentin: 1864.1; 1895.1; 1898.1; 1904.2; 1938.1; 1957.3; 1957.4; 1960.6; 1960.7; 1976.2 (?); 1982.2; 1999.1; Saint Faron at Meaux: 1928.1; Vaucelles: 1865.4; 1904.2; 1914.1; 1947.1; 1982.2
belonged to the “aristocratie de son métier:” 1954.1
born: ca. 1190: 1888.2; ca. 1195: 1960.6; ca. 1200: 1959.4; at beginning of the 13th century: 1937.1
built churches “through the length and breadth of Christendom:” 1898.1
called a/an: architect: 1849.1; 1858.2; 1858.5; 1864.1; 1904.2; 1905.1; 1937.2; 1952.1; 1955.1; 1960.6; 1961.2; 1961.3; 1965.1; 1966.4; 1969.1; 1971.1; 1973.4; 1980.2; 1982.2; 1984.3; 1985.1; 1989.1; 1989.2; 1989.3; 1998.1; 1999.1; “architecte picard:” 1970.2; “architectural teacher:” 1972.9; 1998.1; “arkitekt”: 1978.4; “artiste remois:” 1939.1; “Baüttenmeister:” 1957.4; “dessinateur:” 1937.1; “distinguished architect:” 1952.3; “draftsman:” 1993.1; “famous Gothic master:” 1958.4; “French draftsman:” 1979.3; “itinerant architect”: 1973.3; “inventor:” 1953.2; “maître:” 1961.1; “master builder:” 1909.2; 1970.2; “master craftsman”: 1975.2; “master mason:” 1927.1; 1957.3; 1970.7; 1973.2; 1977.7; 1996.1; “master mason of Picardy”: 1977.5; “master of works (artifex): 1999.4; “modest technician”: 1997.4; “one of the leaders in the development of Gothic architecture:” 1901.2; “one of the immortals of 13th-century French architecture:” 1876.1; “petit architect du peuple”: 1980.3; “Picard architect: 1959.3; 1975.5; “Picard mason: 1994.1; “practitioner of architecture and associated crafts:” 2001.1; “professional expert:” 1904.1; “respected master mason:” 1972.7; “scholar:” 1984.3; “sculptor:” 1953.2; “technician,an expert in building and machines:”1997.1; “ultraconservative architect:” 1895.1; master carpenter: 2008.5; “brilliant:” 1999.4.
compared to Leonardo da Vinci: 1858.5; 1910.1; 1970.1; 1998.1; 2000.1
compared to Vitruvius: 1849.1; 1910.1; 1976.2; 2003.1
not a “French Vitruvius”: 1973.4
confusion/disagreement about Villard’s profession: 1981.1; 1985.4; 1986.1; 1986.4; 1987.9; 1988.4; 1989.4; 1990.4; 1991.4; 1993.2; 1995.1; 2000.6
could follow the arguments of the ‘schools:’ 1990.2
designed and built buildings in northern France: 1966.4
died shortly after 1233: 1978.3
died: ca. 1260: 1902.3; 1960.6; 1262: 1905.1
educated at Vaucelles: 1914.1
employed as an architect by the Cistercian Order: 1952.3
fame as an architect: 1849.1; 1876.1; 1989.3; 1996.4
from Vermandois, not Cambrésis: 1864.1
headed a masons’ lodge: 1975.5
had no sense of historical development in architecture: 1960.6
interested in wide variety of things: 1970.1
knew both French and Latin: 1945.2
knowledge of Gothic architecture questioned: 1991.2
knowledge of Latin: 1910.1; 1922.1; 1990.2
lacked technical vocabulary to explain his ideas verbally: 1944.1
lay agent for bishop and/or chapter of Cambrai Cathedral: 2007.2
life span dated ca. 1225-ca. 1250: 1999.1
little known about Villard: 1931.1; 1937.1
may have been illiterate: 1999.3
may have been a cleric: 2009.5
may have been trained to write and draw in a scriptorium: 2010.4
may have worked under the architect of Chartres in his youth: 1956.3
name given as: Vilart: 1849.1; Vilars: 1856.1; 1901.2; Villars: 1865.4; 1904.2; Wilars: 1858.1
no buildings can be attributed to Villard: 1965.1
not a talented or imaginative designer: 1912.4; 1981.4
not an architect: 1975.2; 1981.1; 1981.4; 1997.4
possessed no technical vocabulary: 1981.4
not a great architect or sculptor: 1965.1
not architect of Cambrai: 1960.6
precursor to Vasari: 2009.7
presided over a masons’ lodge: 1971.1
professional status and career not known: 2000.1
pupil of the Master of the Antique Figures at Reims: 1948.1
sculptor of relief figures and statues of south arm of Chartres: 1977.3
seen as transition figure between Romanesque and Renaissance: 1931.1
trained as a metalworker: 1986.1
trip to Chartres dated ca. 1225: 1888.2; 1960.5
trip to Constantinople, 1221-1228?: 2006.3
trip to Hungary: 1849.1; 1854.1; 1895.1; 1909.1; 1909.2; 1989.1
trip to Near East (Kingdom of Jerusalem): 1983.4
trip to Rome (imaginary), dated ca. 1260: 1860.2
use of geometry: 1849.1; 1856.1; 1858.1; 1904.2; 1937.1; 1960.5; 1960.6; 1982.2; 1983.3; 1984.1; 1989.2; 1999.2
use of technical vocabulary: 1986.4
was both a sculptor and a painter: 1960.6
was a master in the Compagnons du Devoir: 2004.7; 2004.8
worked at Lausanne: 1999.1
worked far from home: 1985.4; 1989.3; 1999.1
Viollet-le-Duc
used Villard’s persona to promote his own views: 2009.1
Wolfenbüttel Musterbuch (Wolfenbüttel, Herzog August-Bibliothek, Codex Guelf 62, 2 Aug.)
analysis of: 1979.2
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