manoscritti delle cronache di Giovanni, Matteo, e Filippo Vil-
lani, 1.” Studi di Filologia Italiana, 34, 1976a, pp. 61–129.
——. “Testimonianze di volgare campano e francese in G. Vil-
lani.” Lingua Nostra, 37, 1976b, pp. 8–9.
——. “Censimento dei manoscritti delle cronache di Giovanni,
Matteo, e Filippo Villani, 2.” Studi di Filologia Italiana, 37,
1979, pp. 93–117.
——. “Aggiunta al censimento dei manoscritti delle cronache
di Giovanni, Matteo, e Filippo Villani,” Studi di Filologia
Italiana, 44, 1986a, pp. 65–67.
——. “Sul testo e la lingua di Giovanni Villani.” Lingua Nostra,
47, 1986b, pp. 37–40.
——. “La storiografi a fi orentina fra il Duecento e il Trecento.”
Medioevo e Rinascimento, 2, 1988, pp. 119–130.
——. “Giovanni Villani storico e scrittore.” In I racconti di Clio:
Tecniche narrative della storiografi a—Atti del Convegno di
Arezzo, 6–8 novembre 1986, ed. Roberto Bigazzi, et al. Pisa:
Nistri-Lischi, 1989, pp. 147–156.
——. “Les rapports entre l’Italie et la France dans la persepective
des chroniqueurs fl orentins du XIVe siècle.” In Die kulturel-
len Beziehungen zwischen Italien und den anderen Laendern
Europas im Mittelalter, ed. Danielle Buschinger and Wolfgang
Spiewok. 1993a, pp. 147–156.
——. “Le varianti redazionali come strumento di verifica
dell’autenticità di testi: Villani e Malispini.” In La fi lologia
romanza e i codici: Atti del Convegno di Messina, 19–22
dicembre 1991, Vol. 2. Messina, 1993b, pp. 481–529.
Ragone, Franca. “Le scritture parlate: Qualche ipotesi sulla re-
dazione delle cronache volgari nel Trecento dopo l’edizione
critica della Nuova Cronica di Giovanni Villani.” Archivio
Storico Italiano, 149, 1991, pp. 783–810.
Rubinstein, Nicolai. “The Beginnings of Political Thought in
Florence.” Journal of the Warburg and Courtauld Institutes,
5, 1942, pp. 198–227.
Santini, Pietro. Quesiti e ricerche di storiografi a fi orentina. Flor-
ence: Seeber, 1903.
Charles T. Davis
VILLARD DE HONNECOURT (WILARS
DEHONECORT; VILARS DEHONCORT;
fl. 1220–30)
Picard artist now known only through a portfolio of
thirty-three parchment leaves of drawings in Paris
(B.N. fr. 19093). Some leaves have been lost from the
portfolio; the maximum number that can be proven to
be lost is thirteen, with the possible loss of two addi-
tional leaves.
Villard addressed his drawings to an unspecifi ed
audience, saying that his “book” contained “sound ad-
vice on the techniques of masonry and on the devices
of carpentry... and the techniques of representation,
its features as the discipline of geometry commands
and instructs it.” The subjects of Villard’s drawings are
animals, architecture, carpentry, church furnishings, ge-
ometry, humans, masonry, mechanical devices, recipes
or formulae, and surveying.
Villard traveled extensively, and most of the identifi -
able monuments that he drew date to the fi rst quarter of
the 13th century. He drew, and perhaps visited, the ca-
thedrals of Cambrai, Chartres, Laon, Meaux, Reims, and
the abbey of Vaucelles in France; the cathedral of Laus-
anne in Switzerland; and the abbey of Pilis in Hungary.
There is no documentary evidence that Villard de-
signed or built any church anywhere or that he was in
fact an architect. It has been proposed that he may have
been “a lodge clerk with a fl air for drawing” or that his
training may have been in metalworking rather than
masonry. It may be that Villard was not a professional
craftsman but rather an inquisitive layman who had an
opportunity to travel widely.Further Reading
Barnes, Carl F., Jr. “Le ‘problème’ Villard de Honnecourt.” In
Les batisseurs des cathédrales gothiques, ed. Roland Recht.
Strasbourg: Éditions les Musées de la Ville de Strasbourg,
1989, pp. 209–23.
——. Villard de Honnecourt: The Artist and His Drawings, A
Critical Bibliography. Boston: Hall, 1982.
——, and Lon R. Shelby. “The Codicology of the Portfolio of
Villard de Honnecourt (Paris, Bibliothèque nationale, MS fr.
19093).” Scriptorium 40 (1988): 20–48.VILLARD DE HONNECOURTVillard de Honnecourt (c. 1225–c. 1250). Drawing of fl ying
buttresses of Reims Cathedral, 1230–35.
© Bridgeman-Giraudon/Art Resource, New York.