In English: Analysis of drawings Villard de Honnecourt: Geometry of 1200

1. Drawings of Architecture.

In architecture only became interested in the great monuments, cathedrals generally, all Gothic style, although they all started in the Romanesque. The highlighted monuments are under construction: Meaux between 1170 and 1180, Lausanne in the late twelfth century, Vaucelles in 1190, in 1194 Chartres, Reims from 1210 ... etc. Villard was drawn during his trip to the big factories under construction, ignoring the constructions completed. And the absence of all the monuments of early Gothic art, including Paris, a must during your tour explains.

As an additional source we have the manual "L'album of Villard" which describes in general terms the different pictures in the book:

In Plate 18: Tower of the Cathedral of Laon. For its construction oxen were needed in addition to the hand of God, because faith is important when finalize the project successfully. Oxen cited appear really as sculptures of the tower.

 

In Plate 29: Clerestory Reims Cathedral and the Madonna and child. Due to the Gothic pointed arch is well noted. Two arches embraced by a larger one. The representation of the Virgin and Child, that subsequent comments in French describe as a '' sweet face expression, '' surely allude to the cathedrals are symbols of God and his mother.

 

In Plate 19: Types of paving, plant a pillar of Reims and Chartres rosette. They are models of flooring which include geometric elements, and even Cosmatesque fitomorfos. The pillar is cruciform, and the rose window of Chartres does not keep a complete similarity with the original. There are differences as the number of lobes in the smaller circular openings.

In Plate 32: Plant the head of the Church of Notre-Dame de Vaucelles. The plant consists of a nave and aisle on each side, leading to the ambulatory formed by their respective apses. Also they appear indicated the vaults and columns. Villard says the figure is located below the apse is "lying God" (probably in the Garden of Olives).

 

In Plate 60: Elevations of Reims Cathedral: both outside and inside draw forming different elevation levels as are the arcades, the triforium and clerestory. Drawn with a sharp detail, but sometimes the lines is as sketches. The photographs shown are for exterior and interior Reims.

2. Engineering Drawings about.

Moreover we have the engineering devices. Villard and his sketchbook has been compared to Leonardo da Vinci and his books, due to the large number of issues that have captured the interest of both. It is thanks to the comparison with Leonardo that can meet Honnecourt like "medieval Leonardo" and a few others. Some of them are:

Perpetual motion by Villard de Honnecourt

Perpetual motion by Leonardo da Vinci

In Plate 8: perpetual motion. This is a hypothetical machine easily drawn by Honnecourt in 1230 (approximately) would be able to continue running forever, after an initial impulse, without additional external power. Theoretically its existence would violate the second law of thermodynamics, which is considered an impossible object.

-Lámina 42: Sierra hidráulica. La primera mención medieval de una sierra hidráulica la encontramos en un documento normando de 1204, pero la primera representación es la de Villard. La sierra mecánica es la primera máquina automática de dos tiempos: al movimiento circular de las ruedas, que crea un movimiento alternativo capaz de serrar, hay que añadir el avance automático de la madera en la sierra. Este dibujo muestra que un arquitecto-ingeniero como Villard debía en ocasiones de recibir el encargo de construir puentes y resolver dificilísimos problemas de los cimientos. Villard muestra cómo se deben serrar los pilotes bajo el agua mediante una “sierra fijada horizontalmente a un armazón que sobresale del agua y que descansa en una plataforma, donde los obreros la deslizan imprimiéndole un movimiento de ida y vuelta. El contrapeso aplicado a una cuerda sujeta a la sierra sirve para que esta presione sobre el pilote a cortar, de manera que el tiro inicial se prolongue ininterrumpidamente. El nivel y el plomo, situados a los largo de un pilote, tienen por objeto asegurar su verticalidad.

 

In Plate 58: Catapult: model based on one of Vitruvian explaining that the two chains must do the same pinching sound to make sure they are tight. Villard takes this model and subsequently used Leonardo da Vinci too.

3. Drawings dedicated to the study of the figures through geometry.

Architectural knowledge of Villard are due in large part to their knowledge in the field of geometry. Thus, he used to solve geometric representation both architectural and figures linked to nature forms problems.

In Plate 35: Geometry applied to various elements (1)

Thus, I decomposed geometric figures living units. In this first case, the head of a man is shown segmented into three rectangles. Through the lines forming, Villard structure gets facial features, and also with this embodiment facilitates the drawing of symmetric between them.

In the second image, the artist used a triangle and an arrow to compose a staff with which to guide the traces of Christ appear. This geometric shape is more complex than before, and therefore more useful to define both the symmetry and the distance that must exist between facial features. The face that is achieved is much more detailed, but do not forget the relaxed nature of these drawings Villard.

The next drawing happens to represent a sheep. This is a whole body decomposed in three main ways that serve to draw after everything else. Thus, in the trunk uses a rectangle; for a right triangle neck and head a scalene triangle.

Finally, this part will discuss a final pattern formed by two flamingos. Used as a base to represent a semicircle made with a compass, and also this is confirmed because the center is marked.

In Plate 36: Geometry applied to various elements (2)

This film continues to reveal the use of geometric shapes to recreate living, but in this case the protagonists are human.

First, a muscular warrior appears in jars whose body is formed by a large inverted triangle that serves as the linchpin. The pair of lines that converge in one corner lengthen structuring, roughly, pelvis and legs. Finally, the knees are made by a pair of circles that shape them, and head cocked is done via the scheme of an isosceles triangle.

In the next drawing sheet, the body of this peasant reuses a triangular base, but this time does not appear inverted. It serves to then Villard can use it as a reference, for the long dress of women. But of course, what they are trying to teach these sketches are geometric figures by which we must start soon to make, as accurately as possible, more complex parts and details.

And on the other hand, in the following diagram shown a gentleman carrying a spear. This small drawing is the most dynamic of the manuscript, given its simplicity.

Scene of King John of England hunting (XIV century)

The horse that is raised dynamically takes an attitude conventional art although these centuries gallop, and similarities with the scene of King John of England Hunting, made a century later. By a period of eight lines born, Villard draws the horse's back (center lines), Figure rider structure and the head of the animal (upper lines) and the tip of the chest, in addition to both forelegs and posterior (lower lines).

To end this film is interesting to note that the architect uses the geometry down to the most minute and simple drawings, such as a flower with five petals is structured by a small pentagon.

In Plate 37: Geometry applied to various elements (3)

Although the other interesting drawings presents this film, as Hammerers trisquel of men, we will focus on that, through a grid previously made, allows the creation of a face. Decomposing the white background having the quadrangular support various units allows the realization of more perfect symmetric and strokes, as these serve as DISTANCER square orientation between some elements and others. To achieve greater accuracy, use a diamond in the center of the composition. Axis serves as both the face and the hair. But Villard becomes even more complex when you divide the square into four triangles. With this achieves an impressive accuracy when drawing, for example, the eyes, which fit into these little triangles.

4. Drawings on anatomy.

Villard was very interested in the representation of nature, and this is evident in the films which represent animals, plants or humans currents or related to religion, as some of the examples that have been seen. However, his few films devoted to the study of anatomy, which are aimed to recreate as faithfully as possible, are exceptional.

In Plate 4: Christ crucified

The sheet 4, in fact, represents Christ crucified. The twisting of the body and pathetic gesture loaded dramatic composition.

 ''Christ'' by Pisano

This Christ is directly influenced by the Byzantine icons, and in fact is very similar to that of Giunta Pisano (1202-1258), Italian painter who was a contemporary Duecento cartoonist, who was also inspired by these icons.

Byzantine icon depicting the Crucifixion (Byzantine and Christian Museum of Athens)

''Christ'' by Marcovaldo

 ''Christ' by Cimabue

Other painters born in times of Honnecourt, as the Italian Coppo di Marcovaldo (1225-1276) and Giovanni Cimabue (1240-1302) also are characterized to represent Jesus in this picture. The typical Byzantine crucified Christ served them as a reference to all of them. Apparently, Villard used as a reference work of its kind for its creation, which means that either had contact with the Byzantine, or with those of Duecento from Italy.

Thus, the head, which no longer has the strength to sustain itself, falls askew on his chest, while his face reflects past anguish. This configuration of the head of Christ, with long strands of brown hair and gesture of suffering, as well as being crowned with the cross nimbus, is typical of those influences, but in this case we will especially highlight the pain.

Nevertheless, the most striking is the torso of Jesus, which is set for the first time the anatomy that the author knew. Thus, both Christ Cimabue Pisano as muscle out with great precision. But the skin of the Christ the rather smooth lines predominate. Taking advantage that it is a corpse, recreates an abdomen contracted by death. This allows you to highlight the arched lines forming the sack, and by five empty circles highlights the ribs located below the chest. Villard five ribs to exist in this part, and although some were hidden, not count twelve, as it is known today. Strained skin wrinkles show side Jesus thinness, and contours make suits skeletal figure, only covered by the skin. This anatomical representation is quite exaggerated, as Villard ignores the thick muscular layer; already in the next sheet to explain. However, this way of drawing anatomy conveys a high degree of pathos, bringing the viewer into the death and suffering. Christ taught dropping his weight on his arms nailed to the cross. This causes the body is forced to contract, and this is achieved contorted position. Even bones are defined within the arm, although not become detached from each other.

In Plate 42: Pair of men talking

This sheet can be seen two men are talking to each other. The significance of this is unknown. They think it may be a couple of carpenters because drawings palmate leaves located on the right, which would relate to works dedicated to wood. Although it is possible that simply have located the characters in the forest or leaves are drawings apart. Although no one knows anything for sure, it is true that one of the characters carries a staff and a robe, simbolizándose its supremacy over the other man, who sits on a chest. Not only do these attributes serve to highlight its power, but also the fact that you are standing, while raising the index finger of his hands in a gesture of authority itself. The power of this character forces him to take a serious attitude towards his subordinate, he explained more relaxed and more comfortable on the chest.

In any case, we must focus on the anatomy of the characters. This sheet are many similarities with the cadaver Christ, for example in the representation of the torso almost identical except the outgoing belly. Here we discover that the main objective anatomic studies Villard is not differentiate the body of a deceased and a living person. The torso branded ribs and side wrinkles, or the bones of the arms are again figurative. For it is the conventional way to draw a person, in particular a male. However, there is an important distinction, since both characters, but especially the one in charge, have a well-marked sinuous lines that seek to highlight the presence of muscles, lacking in Christ. This film allows the man of an idealized, almost advocating the Renaissance, and it becomes apparent vigor of the man before the lifeless body of Jesus shown above.

The meaning of the poems of the Alhambra in Granada

1. The poems of the Alhambra.

Detail of Arabic calligraphy door Lindaraja

The Nasrid works are distinguished by converting poetry inseparable element of ideation, construction and symbolization of palaces, to form a subgenus of courtly poetry can be called "mural poetry." Thus, the Alhambra in Granada contains the largest collection of mural known classical Arabic poetry. Has in its walls and fountains arrocabes thirty poems have been preserved, almost half of which came to be recorded on your stays.
Therefore, the sacralization and aesthetic privilege granted to language in Islam reached one of its peaks in this moorish XIV century palace.

2. The authors of the Alhambra.

The poems of the Alhambra were written by the heads of the Editorial Office, whose mission was to compose royal casidas that were recited in honor of the monarchs in official celebrations as breaking the fast, the feast of sacrifice or Nativity Prophet, as well as weddings, births, circumcisions emirs, military campaigns, funeral ceremonies, etc. Other prepared to be stamped in the palaces, sumptuous objects and epitaphs. With Ibn al Yayyab (1274-1349) the number of poets of the Alhambra, serving from the head of the editorial office, six sultans ranging from Muhammad Yusuf II I, for which he wrote regal casidas opens for over 50 years. He was succeeded by his disciple and protected Ibn al-Khatib (1313-1395). The other poet Ibn Zamrak Alhambra (1333-h.1393) who developed an active work panegirista of Muhammad V, thus becoming the greatest poet of this monument.

2.1. Ibn al Yayyab: It was a poet and politician during the Nasrid dynasty of the Kingdom of Granada. It was the predecessor of Ibn al-Khatib as vizier in the court of Granada. He wrote neoclassical casidas; monorrimos series of verses in uniform meter. Inside the Alhambra stands his poem in the Tower of the Captive.

-Poem Tower of the Captive.

  

The Tower of the Captive houses inside one of the areas most prominent room in the Alhambra, due to its decoration. This is a tower-palace or calahorra, heritage Almohad architecture having a military exterior and a luxurious interior. Its structure and distribution is the same as the other houses and palaces of the Monumental. This space along with the Hall of Comares, boasts the most complex decorative program of the Alhambra. In its walls houses the poetic inscriptions Ybn al-Yayyab that allude to the Sultan in connection therewith beauty of the ornamentation. The poem of the Tower of the Captive constantly expresses the richness of calahorra.

This work has come to decorate the Alhambra;
It is home to the peaceful and warriors;
Calahorra that contains a palace
Say it is a strength while mansion for joy!
It is a palace in which the splendor is spread
between its roof, its soil and its four walls;
in the stucco and tiles there are wonders,
but the carved wood ceilings are even more extraordinary.

2.2. Ibn al-Khatib:
He was born into a wealthy family yemedí and Granada played prominent political functions as the head of the Royal Secretariat, minister and military, first president in the Nasrid court of Yusuf I and later during the reign of his son Muhammad V, with who had a close relationship. With this sultan also served as historian and vizier after the death of the vizier Ibn al-Yayyab. The only poems preserved and authentically classified as theirs in the Alhambra are two, located at the entrance arch to the Hall of Comares.

Arc -Poema entry into the Hall of Comares.

The three bands of calligraphy that line the outside of each preserved tacas are the work of Ibn al-Khatib. The two poems give voice to tacas first person feminine. This embodiment is a common resource in this literature, and appears in both the author and his disciple Ibn Zamrak. addressing the audience to boast of aesthetic superiority and the range of the place with these images: the crown jewels and the astral metaphor, over the fabric and the bridal couch, signs all brightness, lifting and such. After alluded to water of tacas, that becomes a sign of purity and benevolence; then the attributes of brightness (full moon, sun) the monarch Yusuf I, who triumphs over darkness are mentioned, and appeals to their permanence. In the poem right Taca is also compared with the mihrab niche and vase with prayerful praying in his Qibla.

TACA RIGHT
With my jewelry and my crown the most beautiful edged,
and to me down the stars of the zodiac.
The vase of water seems to me a devotee
standing before the mihrab alquibla praying.
My bounty at all times
quenches thirst and serves the needy.
It is as if I follow the footsteps of the largesse
from the hand of my lord Yusuf I
Full moon shining it remains in my sky,
and in the darkness full moon.

TACA LEFT
The fingers of my creator my embroidered fabric
after crimping the jewels in my crown.
At a wedding I liken throne, even as I pass,
and to assure the couple happiness.
Whoever comes to me complaining of thirst,
my source gives sweet, clear and unadulterated water.
I'm like when the rainbow appears
with the sun of our Lord Yusuf I.
That remains hangout protected
while God's house pilgrims gather.

-Poem of Alcoba Central Hall of Comares.

Dome (the sky's poem)

The poem of the central alcove is the only one inside the room and is engraved on the side walls (three lines on each side) of the alcove to eye level. Its content indicates the function of the room and stay as own throne room, while symbolically links all semantic and architectural components of living together and with the figure of the sovereign. The poem does speak to the living room alcove in person. which, after expressing good wishes to the Sultan, described the show as a whole constellations, nine bedrooms that are dependent of the supreme sky and represented by the wooden frame of the dome of the central hall, and specifies the upper value of the central alcove as the throne room where the sun shines figure of the sultan. Finally, states the protection and support of the monarchy by the Light, the seat and the divine throne, recent concepts of clear Quranic connotations.

For me, day and night, greet
Wish mouths, fortune, happiness and kindness.
She is the Supreme Dome and we are his daughters,
although the favor and glory in my class distinguished me,
being undoubtedly the heart and they Member,
because in the heart the power of the spirit and soul resides.
If my sisters are constellations in the sky of the Dome
in me, not in them lies the honor of having the sun.
My lord Yusuf, supported by God, I dressed
in robes of dignity and unquestionable distinction.

2.3. Ibn Zamrak:
From a native of Levante Peninsula poor family fled during the Christian conquest to reside in the single safest core: Granada. Despite their pitiful situation, received an excellent education, and had studied under Ibn al-Khatib, who introduced him to the Granada administration. Ibn Zamrak is considered the most brilliant poets of the Alhambra, and there are many examples of his work.

-Poem of Door of Mexuar:

In the wainscot which is under the umbrella of this door is inscribed a poem I 3 verses. Like many others of the Alhambra, is a true reflection of courtly ideals of the Nasrid monarchs: the palace, wonderful architectural work of Muhammad V, representative of God on earth is home to the monarchy that opens the door to symbolize victory.

Oh sublime podium royalty who possess a wonderful way!
Open went to a clear victory and good work or action.
Monument is the Imam Muhammad, God's shadow on all sifted.

-Poem Cup of Lions:

The central courtyard fountain, formed by twelve lions stood and arranged discoidal, belongs to a palace of the eleventh century, probably by the Jewish vizier Samuel ibn Nagrella. However Cup font styling was sent by Sultan Muhammad V. This also commissioned that found in the Hall of Abencerrajes. Apparently, Muhammad was cautious and spent two cups calligraphic if one is malograba during implementation. In any case, the basin of the fountain is decorated with an inscription of twelve verses, half a casida. In the poem the mechanism of supply and drainage of the source and the meaning of it is described: the basin of the fountain, which is the center of it, compared to the Sultan, who is the center of the organization state, so that the water is similar to the generosity of the sultan, who like water spilled on the loyal warriors, represented by crouching lions. Also interested in the poem aesthetic consideration that has water, since it is incorporated into the plastic effect of the whole.

Detail of the cup. On the edge inscription is located

Blessed be He who granted the imam Mohamed

the beautiful ideas to decorate their mansions.

Well, is there not in this garden wonders

God has made incomparable in their beauty,

and a sculpture of pearls transparent clarity,

whose edges are decorated with fringe of seed pearls?

Melted silver flows through the pearls,

resembling the dawn and pure beauty.

Apparently, water and marble seem confused,

without knowing which of the two slides.

Do not see how water is poured into the cup,

but its spouts hide it immediately?

He is a lover whose eyelids are brimming with tears,

Tears hiding for fear of an informer.

Not actually a white cloud

Lions pouring into their rivers

and it seems the hand of the caliph, that morning,

Lions lavishes her favors war?

Whoever contemplates the lions in a threatening manner,

(Knows that) only respect (to the Emir) holds his anger.

Oh descendant of the Ansar, and not by indirect line,

heritage of nobility, who despises the fatuous:

May the peace of God be with you and unscathed multiplying

your feasts and tormenting your enemies!

-Poem of Comares facade.

              

Built during the reign of Muhammad V, this facade that gives access to the Courtyard of the Myrtles and the Torre de Comares. The poem that decorates personifies the wooden eaves and this metaphorically proclaimed from his position on the facade, ie, the royal crown (symbol of power) that dominates the entrance. Then verse 1 goes to a literary topic of Arabic and Andalusian poetry: the comparison between East and West, demonstrating the superiority of this palace, whose beauty is envied for East, beginning not only of Islam but also the light. In verse 2 victory that, in this door, asked to forward, ie, the royal crown that opens to give way appears. This victory of the poem speaks apparently is that, in 1369, Muhammad V scored against Christians in the Battle of Algeciras, considered the last great victory of the Muslims in the Iberian Peninsula.
In the third verse the door, in metaphorical expression, says he is hoping that identifies with the dawn light that ends the darkness, the sovereign. The last verse is a clear allusion to the perfection of divine creation and draws a parallel between the Prophet and the monarch who lives in the palace.

My position is a crown, my front door: in me envy the East to the West.
Muhammad V has instructed me to hastily open to victory calling
I'm waiting for him to appear as the horizon in the morning revealed.
God made his work as good as good is your character and your figure!

-Poem of the Board of Las Dos Hermanas.

Muqarnas dome on octagonal drum of the Board

The largest of all the poetic texts of the Alhambra is in this Room Two Sisters, inscribed above the socket. It consists of 24 verses that are happening along the wall, starting with the right of the door that stay with the Patio de los Leones, entering it. The room, which is square, has four doors, one in the center of each wall. Are, for registration, the four angles, or eight pieces of perfectly equal wall. Each piece of wall has three verses, of which the first and the third are enrolled in a medallion, while the center is in a rectangular cartouche. Almost all lines of the poem belong to the casida of 146 verses of Ibn Zamrak which was recited during the circumcision of Emir Abd Allah, son of Muhammad V, which was further extracted half of the poem of the Fountain of Lions , incorporating the same meter and rhyme.

I am a garden adorned by beauty:
You will know my being if look at my beauty.
For Muhammad, my king, a pair I wear
the noblest thing that will or has been.
Sublime work, Fortuna wants
that outshine all other monuments.
What a delight for the eyes!
Their noble aspirations renews here.
The Pleiades serve amulet;
the breeze defends his magic.
Unparalleled sports a shiny dome,
of patents and hidden beauties.
Rendered gives Gemini hand;
comes with her to discuss the moon.
Embed the stars there want,
not turn around the celestial wheel,
and await submissively in both courtyards,
and serve as slaves contention.
No wonder that the stars err
and marked limit,
to serve my Lord willing,
those who serve the glorious glory reached.
The portico is so beautiful that the palace
competes with the sky.
With so beautiful You dressed tissue,
I forgot put the loom of Yemen.
How many arches are high on its summit,
on columns adorned by the light,
as heavenly spheres
flip above the glowing pillar of the dawn!
The columns are all so beautiful,
that his fame goes runners languages:
marble throws its clear light that invades
black corner that blackens the shadow;
iridesce reflexes, and say they are,
Despite their size, pearls.
We never saw the most exquisite palace,
more brighter and wide areas.
We have never seen flourishing garden,
Harvesting sweeter and aroma.
By permission of the judge of beauty
pays double the tax in two currencies,
because if, at dawn, in the hands of the Zephyr
left drachmas of light, which would suffice,
then pulled into the bushes, among the trunks,
gold doubloons sun, which embellish it.