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The antithesis between classical ornament and Northern Gothic
ornament requires a more exhaustive consideration. The fundamental
difference in the character of these two manifestations of art must also be
demonstrated in detail.
When comparing the two styles of ornament, the first point that
strikes one is that the Northern ornament lacks the concept of symmetry which
from the beginning was so characteristic of all classical ornament. Symmetry is
replaced by repetition.
A continually
increasing activity without pauses or accents is set up and repetition has only
the one aim of giving the particular motive a potential infinity. The infinite
harmony of the line hovers before Northern man in his ornament: that infinite
line which gives no pleasure, but which stuns and compels us to helpless
surrender.
If after
contemplating Northern ornament, we close our eyes, all that remains to us is a
lingering impression of a formless, ceaseless activity.
Excerpt:
Wilhelm Worringer,
Form In Gothic (authorized translation of Formprobleme der Gotik, edited
with an introduction by Herbert Read), New York, G.P. Putnam’s Sons, 1927.
Illustrations:
1. Daniel Hopfer, (ca 1470-1536): Ornament with Thistle (Gothic
Thistle). Etching.
2. Shoulder
clasp (closed) from the Sutton Hoo ship-burial.
3. "Edinburgh
Lecture diagram: Decorated cusped gothic window" by John Ruskin and Sir
John Everett Millais, assisted by Euphemia Chalmers Ruskin, pencil, charcoal,
ink, wash, oil and gold paint; paper mounted on linen, 1853.
4. Ärentunar runestone with interlaced animal, Uppland, Sweden.
5. Engraving
of the Cross of Cong, an Irish processional cross decorated with elements of
Insular art and Urnes-style decoration, early 12th century.
