1st Edition
The Portfolio of Villard de Honnecourt A New Critical Edition and Color Facsimile (Paris, Bibliothèque nationale de France, MS Fr 19093) with a glossary by Stacey L. Hahn
Biography
Carl F. Barnes, Jr, is Professor Emeritus of Art History at Oakland University in Rochester, Michigan, USA, where he taught for 30 years. A graduate of Washington and Lee University (B.A., 1957) and Columbia University (M.A., 1959; Ph.D., 1967), Barnes has published extensively on the Cathedral of Sts. Gervase and Protase at Soissons, France, and on the Portfolio of Villard de Honnecourt. He maintains an Internet site (http://www.villardman.net) with extensive information about the portfolio, including Barnes’ bibliography of writings on the Villard portfolio from 1666 to the present. Barnes has served in a number of scholarly administrative positions, including terms as president of ICMA (The International Center of Medieval Art) and AVISTA (Association Villard de Honnecourt for the Study of Medieval Technology, Science, and Art).
Winner, CAA Millard Meiss Publication Fund Grant 'The Portfolio of Villard de Honnecourt is a very thorough and systematic analysis of a book of which it is fair to say, with Barnes:'The Villard Portfolio is among the rarest and most famous of Gothic survivals' (p. 22). The work is excellent.' ISIS ’Whatever Villard's vocation, one of the admirable accomplishments of this book, its color reproductions, and Barnes's meticulous descriptions of the portfolio's pages, re-focuses appreciative attention on his "extraordinary skill" as a draftsman...’ Michael T. Davis in The Medieval Review ’It is a tremendously useful book... The color photos of each page (as well as the cover) and the painstakingly prepared descriptions and remarks that accompany each image are perhaps the volume’s greatest contribution. The matter of color is not a minor one... The color plates are a revelation.’ H-France ’... a wonderfully rich and informative volume, and a great scholarly achievement.’ Medium Aevum 'Professor Barnes is to be thanked warmly for this, the first color facsimile of a little book of drawings from the grand age of Gothic (1220s-1240s). His careful work on codicology and translations, the new glossary and bibliography, and his insightful analysis and contextualization of the drawings themselves make this new critical edition indispensable to all students of thirteenth-century cultural production.' Stephen Murray in Speculum
