Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 2004. Vol. 4. Eger Journal of English Studies. (Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 30)

MATTHEW PALMER The English Cathedral: Prom Description to Analysis

80 Matthew Palmer and data of architecture: construction, plan, masses and visual effects being all equally affected."

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5 Medieval architects designed vast buildings using simple tools and simple geometrical principles. Buildings were not designed with a detailed knowledge of bads and stresses, but on the use of the square, the (golden) rectangle, the regular polygon and complex shapes derived through relatively simple operations with the benefit of experience. No mathematics was involved as designs were based on simple logical progressions, proportions being used not ratios. Going upward was just one way such progressions could proceed. That those living in England were aware that the new Gothic style produced taller buildings we have seen in Gervase's description. However, the fact that English architects decided to design lower buildings cannot be explained on purely ethnic grounds, in the same way that French cathedrals cannot be explained merely in terms of structural efficiency. For an understanding of how architects went about collecting ideas and producing new designs one need look no further than Villard de Honnecourt's sketchbook, a document which opens with the following words: Villard de Honnecourt greets you and begs all those who are involved in all the different types of work mentioned in this book to pray for his soul and remember him; because this book may help be a great help in instructing the principles of masonry and carpentry. You will also find it contains methods of portraiture and line drawing as dictated by the laws of geometry.

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6 We would be foolish to ignore his pleas of supplication. Apart from being an important sourcebook in the understanding of Gothic taste and design, Villard de Honnecourt's sketchbook not only shows that the Kingdom of Hungary could be just as valid as a source of ideas as northern IVance, but also helps us understand how High Gothic evolved into the Rayonnant and Decorated styles.

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5 ibid., p. 32. 2

6 For Villard de Honnecourt in Hungary see: Gerevich L, "Villard de Honnecourt Magyarországon", Művészettörténeti Értesítő (Budapest, 1971), pp. 81-105. For his appreciation and perception of Gothic architecture see: Hearn M. F., "Villard de Honnecourt's Perception of Gothic Architecture", Medieval Architecture and its Intellectual Context, eds. Fernie E. and Crossley P. (London and Ronceverte, The Hambledon Press), pp. 127-136. 2

7 Bony, Jean, "French Influences on the origins of English Gothic Architecture", Journal of the Warburg Institute 12, 1949, p. 46.