Rediscovered in the 19th century, the sketchbook of Villard de Honnecourt quickly captivated historians and art enthusiasts as one of the most fascinating works of the Middle Ages. But who was Villard, and what inspired him to create this extraordinary collection of drawings?
Little is known about Villard beyond the tantalising clues within the sketchbook itself. Living in 13th-century northern France, he describes travelling to distant lands, including Hungary. Once thought to be an architect, Villard is now considered more likely to have been a skilled craftsman – possibly a carpenter. His sketchbook, originally containing more pages than the surviving 33 sheets of parchment, appears to have been a personal or professional guide, filled with over 250 images of people, animals, objects, and buildings.
Villard’s artistic talent and keen observational skills are evident throughout the collection. Each page reveals something unique about medieval art, design, and imagination. Let’s explore some of the most intriguing pages from this remarkable work.
Folio 1v: The Twelve Apostles
This page introduces Villard’s sketchbook with a personal note:
Here you will find the images of the Twelve Apostles, sitting. Villard de Honnecourt greets you and begs all who use the devices found in this book to pray for his soul and remember him. For in this book will be found sound advice on the virtues of masonry and the uses of carpentry. You will find strong help in drawing figures according to the lessons taught by the art of geometry.
In addition to the Twelve Apostles, Villard includes a monk, a hooded woman, and a figure mid-somersault, offering a glimpse into both his piety and his playful creativity.
Folio 4v: The Church Triumphant
This striking page features an intricate depiction of the Church Triumphant, a common medieval motif symbolising the power and glory of the Church. The design demonstrates Villard’s deep understanding of ecclesiastical art and architecture.
Folio 5r: The Perpetual Motion Machine
Here, Villard delves into mechanical ingenuity, proposing a design for a perpetual motion machine. He writes:
Often have experts striven to make a wheel turn of its own accord. Here is a way to do it with an uneven number of mallets and with quicksilver.
An anonymous commentator later added: “I say Amen.” This playful addition hints at the communal nature of such manuscripts, where others often contributed thoughts or critiques.
Folio 5v: Gothic Foliage and Ornamental Designs
The folio features intricate foliate ornaments, including two foliate heads, an ornamental band, and various leaf designs. These sketches exemplify the Gothic era’s emphasis on naturalistic motifs and likely served as models for architectural decoration.
Folio 6v: A Clock Tower
Villard offers a detailed description of a clock tower he once saw:
Whoever wishes to build a clock tower should study this one that I once saw. The first storey is square, with four small gables. The second storey has eight panels and a roof, and above that four smaller gables with a broad space between each. The topmost storey is square, with four gables and an eight-sided roof.
A dragon, whimsically shaped like an “S,” adds a touch of flair to the page, blending precision with fantasy.
Folio 7v: Animals and a Labyrinth
This page showcases Villard’s skill in capturing the natural world. Among the creatures depicted are a cat, dog, fly, dragonfly, grasshopper, and crayfish. Nearby, a labyrinth design hints at the medieval fascination with puzzles and symbolic journeys.
Folio 10r: Siege Engines and War Machines
This page reveals Villard’s knowledge of medieval military technology. It includes sketches of siege engines such as a trebuchet and a battering ram. Villard’s precise annotations provide insights into the mechanics behind these machines, showcasing his understanding of both engineering and the art of war.
The designs reflect the ingenuity of the period, when such tools were vital in shaping the outcomes of sieges and battles.
Folio 14r: A Lord and Lady
In a more courtly scene, Villard presents a lord and lady, elegantly drawn in a style reflecting the social hierarchies and fashions of the time. The image offers a window into the aristocratic culture of medieval Europe
Folio 14v: Wrestlers and church plans
This page juxtaposes physicality and architecture, featuring two men wrestling alongside detailed plans for church buildings. Villard notes:
This is the plan of the apse and the choir of Our Lady of Cambrai as it is now rising from the ground. Elsewhere in this book you will see the inner and outer elevations, as well as the design of the chapels, the walls, and the flying buttresses.
Sadly, no other surviving pages of the sketchbook include images of this church.
Folio 16v: Christ in Majesty
Taking up the entire folio, Villard has depicted Jesus Christ sitting on a bench. It is a motif commonly called ‘Christ in Majesty’. In his commentary about this image, Carl F. Barnes writes “This is a magnificent drawing, perhaps Villard’s best combination of pose, facial features, and drapery… Villard here reached the apex of his ability to render drapery as a volumetric mass, giving this figure a feeling of solidity. The hand is well drawn although small. The feet by contrast are large and the figure’s left foot should be more to the right in line with the knee and seen from the top. Both feet rest solidly on the base of the bench.”
Folio 18v: Geometric Figures
Geometry takes centre stage on this page, with drawings of five human faces, a hand, a tower, a sheep, an eagle, a greyhound, two ostriches, and a horse’s head. Villard writes:
Here begins the method of representation as taught by the art of geometry, to facilitate work. Elsewhere you will find the method of masonry.
These sketches highlight Villard’s belief in the interconnectedness of art, science, and craftsmanship.
Folio 24r: The Lion and the Porcupine
Under the lion’s image, Villard notes:
Here is a lion seen from the front. Please remember that he was drawn from life.
Below, a porcupine is described as “a little beast that shoots its quills when aroused,” reflecting both observation and folklore.
Folio 31v: Rheims Cathedral
Six pages of the sketchbook are devoted to Rheims Cathedral, showcasing Villard’s meticulous attention to architectural detail. On this page, he writes:
Here are the elevations of the Church of Rheims and the inner and outer walls. The first entablatures of the side aisles must be crenellated so that there may be a passageway before the roof. The inner galleries are at the level of this roof. Above these vaults and entablatures, we find other passageways which allow circulation in front of the window sills. The last entablature must have crenellations to permit passage before the roof. Here is the model of all the elevations.
These detailed observations suggest Villard’s deep admiration for the craftsmanship of Gothic cathedrals.
Folio 33r: Recipes
The final page of information from Villard is just writing: it contains two recipes, which were written at different times. The first tells you how to create a painkiller:
Remember what I am about to tell you. Take leaves of red cabbage, and of avens – a herb called “bastard cannabis.” Also take a herb called tansy, and hemp, the seeds of cannabis. Grind equalamounts of these four herbs. Then take twice as much madder as any one of the four herbs, crush them, then put all five herbs in a pot and add the best white wine you can get to infuse it. Take care that the potion is not too thick to drink. Do not drink too much of it: a filled eggshell will be enough. This will heal whatever wound you might have. Clean your wound with a little tow. Put a leaf of red cabbage on it then drink the potion twice a day, once in the morning and once in the evening. The potion works best when infused by sweet must because only good new wine will ferment with the herbs. If you must infuse them with old wine, let the potion steep for two days before drinking it.
Barnes notes this might be the earliest reference to cannabis The second, much shorter recipe explains how you can keep the colour of flowers after they have removed from the ground.
Villard’s sketchbook has been digitized and is available through the Bibliothèque Nationale de France. Click here to view it. This digital treasure offers a chance to explore the remarkable creativity and ingenuity of a medieval artisan whose work continues to inspire and amaze.
The English translation of Villard’s notes can be found in The Medieval Sketchbook of Villard de Honnecourt, edited by Theodore Bowie. If you want more analysis of this work, try The Portfolio of Villard de Honnecourt (Paris, Bibliothèque nationale de France, MS Fr 19093): A New Critical Edition and Color Facsimile, by Carl F. Barnes.
Rediscovered in the 19th century, the sketchbook of Villard de Honnecourt quickly captivated historians and art enthusiasts as one of the most fascinating works of the Middle Ages. But who was Villard, and what inspired him to create this extraordinary collection of drawings?
Little is known about Villard beyond the tantalising clues within the sketchbook itself. Living in 13th-century northern France, he describes travelling to distant lands, including Hungary. Once thought to be an architect, Villard is now considered more likely to have been a skilled craftsman – possibly a carpenter. His sketchbook, originally containing more pages than the surviving 33 sheets of parchment, appears to have been a personal or professional guide, filled with over 250 images of people, animals, objects, and buildings.
Villard’s artistic talent and keen observational skills are evident throughout the collection. Each page reveals something unique about medieval art, design, and imagination. Let’s explore some of the most intriguing pages from this remarkable work.
Folio 1v: The Twelve Apostles
This page introduces Villard’s sketchbook with a personal note:
Here you will find the images of the Twelve Apostles, sitting. Villard de Honnecourt greets you and begs all who use the devices found in this book to pray for his soul and remember him. For in this book will be found sound advice on the virtues of masonry and the uses of carpentry. You will find strong help in drawing figures according to the lessons taught by the art of geometry.
In addition to the Twelve Apostles, Villard includes a monk, a hooded woman, and a figure mid-somersault, offering a glimpse into both his piety and his playful creativity.
Folio 4v: The Church Triumphant
This striking page features an intricate depiction of the Church Triumphant, a common medieval motif symbolising the power and glory of the Church. The design demonstrates Villard’s deep understanding of ecclesiastical art and architecture.
Folio 5r: The Perpetual Motion Machine
Here, Villard delves into mechanical ingenuity, proposing a design for a perpetual motion machine. He writes:
Often have experts striven to make a wheel turn of its own accord. Here is a way to do it with an uneven number of mallets and with quicksilver.
An anonymous commentator later added: “I say Amen.” This playful addition hints at the communal nature of such manuscripts, where others often contributed thoughts or critiques.
Folio 5v: Gothic Foliage and Ornamental Designs
The folio features intricate foliate ornaments, including two foliate heads, an ornamental band, and various leaf designs. These sketches exemplify the Gothic era’s emphasis on naturalistic motifs and likely served as models for architectural decoration.
Folio 6v: A Clock Tower
Villard offers a detailed description of a clock tower he once saw:
Whoever wishes to build a clock tower should study this one that I once saw. The first storey is square, with four small gables. The second storey has eight panels and a roof, and above that four smaller gables with a broad space between each. The topmost storey is square, with four gables and an eight-sided roof.
A dragon, whimsically shaped like an “S,” adds a touch of flair to the page, blending precision with fantasy.
Folio 7v: Animals and a Labyrinth
This page showcases Villard’s skill in capturing the natural world. Among the creatures depicted are a cat, dog, fly, dragonfly, grasshopper, and crayfish. Nearby, a labyrinth design hints at the medieval fascination with puzzles and symbolic journeys.
Folio 10r: Siege Engines and War Machines
This page reveals Villard’s knowledge of medieval military technology. It includes sketches of siege engines such as a trebuchet and a battering ram. Villard’s precise annotations provide insights into the mechanics behind these machines, showcasing his understanding of both engineering and the art of war.
The designs reflect the ingenuity of the period, when such tools were vital in shaping the outcomes of sieges and battles.
Folio 14r: A Lord and Lady
Folio 14v: Wrestlers and church plans
This page juxtaposes physicality and architecture, featuring two men wrestling alongside detailed plans for church buildings. Villard notes:
This is the plan of the apse and the choir of Our Lady of Cambrai as it is now rising from the ground. Elsewhere in this book you will see the inner and outer elevations, as well as the design of the chapels, the walls, and the flying buttresses.
Sadly, no other surviving pages of the sketchbook include images of this church.
Folio 16v: Christ in Majesty
Taking up the entire folio, Villard has depicted Jesus Christ sitting on a bench. It is a motif commonly called ‘Christ in Majesty’. In his commentary about this image, Carl F. Barnes writes “This is a magnificent drawing, perhaps Villard’s best combination of pose, facial features, and drapery… Villard here reached the apex of his ability to render drapery as a volumetric mass, giving this figure a feeling of solidity. The hand is well drawn although small. The feet by contrast are large and the figure’s left foot should be more to the right in line with the knee and seen from the top. Both feet rest solidly on the base of the bench.”
Folio 18v: Geometric Figures
Geometry takes centre stage on this page, with drawings of five human faces, a hand, a tower, a sheep, an eagle, a greyhound, two ostriches, and a horse’s head. Villard writes:
Here begins the method of representation as taught by the art of geometry, to facilitate work. Elsewhere you will find the method of masonry.
These sketches highlight Villard’s belief in the interconnectedness of art, science, and craftsmanship.
Folio 24r: The Lion and the Porcupine
Under the lion’s image, Villard notes:
Here is a lion seen from the front. Please remember that he was drawn from life.
Below, a porcupine is described as “a little beast that shoots its quills when aroused,” reflecting both observation and folklore.
Folio 31v: Rheims Cathedral
Six pages of the sketchbook are devoted to Rheims Cathedral, showcasing Villard’s meticulous attention to architectural detail. On this page, he writes:
Here are the elevations of the Church of Rheims and the inner and outer walls. The first entablatures of the side aisles must be crenellated so that there may be a passageway before the roof. The inner galleries are at the level of this roof. Above these vaults and entablatures, we find other passageways which allow circulation in front of the window sills. The last entablature must have crenellations to permit passage before the roof. Here is the model of all the elevations.
These detailed observations suggest Villard’s deep admiration for the craftsmanship of Gothic cathedrals.
Folio 33r: Recipes
The final page of information from Villard is just writing: it contains two recipes, which were written at different times. The first tells you how to create a painkiller:
Remember what I am about to tell you. Take leaves of red cabbage, and of avens – a herb called “bastard cannabis.” Also take a herb called tansy, and hemp, the seeds of cannabis. Grind equalamounts of these four herbs. Then take twice as much madder as any one of the four herbs, crush them, then put all five herbs in a pot and add the best white wine you can get to infuse it. Take care that the potion is not too thick to drink. Do not drink too much of it: a filled eggshell will be enough. This will heal whatever wound you might have. Clean your wound with a little tow. Put a leaf of red cabbage on it then drink the potion twice a day, once in the morning and once in the evening. The potion works best when infused by sweet must because only good new wine will ferment with the herbs. If you must infuse them with old wine, let the potion steep for two days before drinking it.
Barnes notes this might be the earliest reference to cannabis The second, much shorter recipe explains how you can keep the colour of flowers after they have removed from the ground.
Villard’s sketchbook has been digitized and is available through the Bibliothèque Nationale de France. Click here to view it. This digital treasure offers a chance to explore the remarkable creativity and ingenuity of a medieval artisan whose work continues to inspire and amaze.
The English translation of Villard’s notes can be found in The Medieval Sketchbook of Villard de Honnecourt, edited by Theodore Bowie. If you want more analysis of this work, try The Portfolio of Villard de Honnecourt (Paris, Bibliothèque nationale de France, MS Fr 19093): A New Critical Edition and Color Facsimile, by Carl F. Barnes.
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