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Notes
1. See Walls, John Bromyard, 27 n. 134. This and other examples are discussed more fully in my forthcoming study of art and aesthetics in England in the fourteenth century, Gothic Wonder: Art, Artifice and the Decorated Style 1290–1350, to appear with Yale University Press.
2. Bond, Chronica monasterii de Melsa, 35–6; see the discussion in Binski, Becket's Crown, 228–229.
3. Nims, Poetria Nova of Geoffrey of Vinsauf, 16–17; for the text as adapted here see Carruthers, “The Poet”; a study of Vinsauf in relation to a major artwork is Jordan, Visualizing Kingship.
4. Fundamental studies to which I am indebted are Carruthers, Book of Memory; Carruthers, “Poet as Master Builder”; Carruthers, Craft of Thought. Invention and play in rhetorically-informed arts are discussed in Carruthers, Experience of Beauty.
5. Lehmann-Brockhaus, Lateinische Schriftquellen.
6. Berliner, “Freedom of Medieval Art.”
7. Kantorowicz, “Sovereignty of the Artist,” 354–355.
8. Kneale, “Idea of Invention,” 101.
9. For what follows, see the references and discussion in Rudolph, “Building-Miracles.”
10. Carruthers, Craft of Thought, 183–187.
11. Ibid., 224–228, for what follows.
12. Robertson, Materials, 531.
13. Magdalene College Cambridge, Pepys Library, 1254 (STC 25001), see Janes and Waller, Walsingham in Literature, 5–6.
14. Carruthers, Craft of Thought, 345 n. 10.
15. See for instance Bedos-Rezak, “Replica: Images of Identity.”
16. Binski, Becket's Crown, 133.
17. Carruthers, Craft of Thought, 230.
18. Kelly, “Topical Invention,” 233.
19. Kelly, “Topical Invention,” 250; see also Nims, Poetria Nova, and Carruthers, “Poet as Master Builder.”
20. Krautheimer, “Introduction.”
21. These instances are discussed fully in my forthcoming study in note 1.
22. See Nagel and Wood, Anachronic Renaissance.
23. See Binski, “Villard de Honnecourt”; study of Villard is itself eased by Barnes, Portfolio of Villard de Honnecourt.
24. For diligentia see Quintilian, Institutio oratoria 2.14.5.
25. Rouse and Rouse, “Statim invenire,” 202–3; Carruthers, Book of Memory, 83, 309 note 14, and Carruthers, Craft of Thought, 64.
26. See most recently Bork, Geometry of Creation.
27. See, by way of comparison, Hiscock, Wise Master Builder.
28. Bork, Geometry of Creation.
29. Carruthers, Experience of Beauty, 16–44.
30. For the Pontifical see Binski and Panyotova, Cambridge Illuminations, no. 52.
31. Bork, Geometry of Creation, 148, 151, 158, 205 fig. 4.3, 214.
32. Lehmann-Brockhaus, Lateinische Schriftquellen, no. 3838.
33. Claussen, “Früher Künstlerstolz,” 30.
34. Baxandall, Giotto and the Orators, 124.
35. More fully set out in Binski, “Working by Words.”
36. Ibid., 31.
37. Duru, Bibliothèque historique, 474–475.
38. Davis and Neagley, “Mechanics and Meaning,” 162 and text at 178–179, take previis tractatibus studiosis to mean “former learned treatises,” but have since agreed that there is some merit in my translation.
39. Minnis, Medieval Theory, 17, 21–22, 29, 49, 54, 118–159; Carruthers, Book of Memory, 202–203.
40. Kantorowicz, “Sovereignty of the Artist.”
41. Trachtenberg, Building-in-Time, 66.
42. Toker, “Gothic Architecture,” 88.
43. These are reviewed from a post-Renaissance literary perspective in Haynes, “Reassessing ‘Genius.’”
44. Trachtenberg, Building-in-Time, 104–105.
45. James, Contractors of Chartres; for comments on this “eccentric” thesis (later modified by James himself) see Frankl, Gothic Architecture, 26.
46. Hutchins, Cognition in the Wild.
47. For which see Mukerji, Impossible Engineering.
48. For Mignot and Aristotle, see Binski, “Working by Words,” 40. For learned hands, see also Roberts, Schaffer, and Dear, Mindful Hand; Smith, Body of the Artisan.
49. Kelly, “Topical Invention,” 243; see also Binski, “London, Paris, Assisi, Rome,” 20–21.
50. See especially De Bruyne, Études d'esthetique médiévale; Panofsky, Abbot Suger; Von Simson, Gothic Cathedral.
51. Camille, Gothic Idol, 33.
52. Ibid., 47.
53. Ibid., 78
54. Belting, Likeness and Presence.
55. Gell, “Technology of Enchantment,” 40.
56. Belting, Likeness and Presence, 434, 436.