Interlacing Collection

Detail of a carved rowlock, from a ship (wood)
KND176628 Detail of a carved rowlock, from a ship (wood) by Viking, (9th century); Viking Ship Museum, Oslo, Norway

Detail of the prow of the Gokstad Viking longship (wood)
KND176636 Detail of the prow of the Gokstad Viking longship (wood) by Viking, (9th century); Viking Ship Museum, Oslo, Norway

Late Saxon ring, probably c. 7th century (gold) (detail of 115707)
AMQ419875 Late Saxon ring, probably c.7th century (gold) (detail of 115707) by Anglo-Saxon; Ashmolean Museum, University of Oxford, UK; (add.info.: bears the inscription)

Architectural fragment with carved decoration, detail, High Imperial Period (27 BC-395 AD
GDG267012 Architectural fragment with carved decoration, detail, High Imperial Period (27 BC-395 AD) (see also 267011) by Roman Imperial Period (27 BC-476 AD); Timgad

Ms 364 Letter D (Deus) Initial from the Breviary of Monte Cassino (vellum)
BMR327013 Ms 364 Letter D (Deus) Initial from the Breviary of Monte Cassino (vellum) by Italian School, (11th century); Bibliotheque Mazarine, Paris

Detail of figures illustrating a saga, from the Isle of Gotland (stone)
XIR176069 Detail of figures illustrating a saga, from the Isle of Gotland (stone) by Viking, (9th century); Historiska Museet, Stockholm, Sweden; (add.info.: Sleipnir)

Mosaic floor from the bema area in the early Byzantine church in Shiloh, West Bank
3287872 Mosaic floor from the bema area in the early Byzantine church in Shiloh, West Bank, 380-420 AD (mosaic) by Byzantine; Samaritan Museum, Israel; (add.info.: A platform area for orations or)

The Abingdon Sword, Late Saxon, Trewhiddle style of late 9th century (silver)
AMQ114291 The Abingdon Sword, Late Saxon, Trewhiddle style of late 9th century (silver) by Anglo-Saxon; Ashmolean Museum, University of Oxford

Ms 384 Christ in Glory, page from the Antiphonary of Saint-Denis (vellum)
BMR327000 Ms 384 Christ in Glory, page from the Antiphonary of Saint-Denis (vellum) by French School, (11th century); Bibliotheque Mazarine, Paris, France; (add.info.: Antiphonaire de l Abbaye de St)

Late Saxon ring, probably c. 7th century (gold) (detail of 115707)
AMQ419874 Late Saxon ring, probably c.7th century (gold) (detail of 115707) by Anglo-Saxon; Ashmolean Museum, University of Oxford, UK; (add.info.: bears the inscription)

Lion of St. Mark, facsimile of an illumination from the Book of Durrow
KW293337 Lion of St. Mark, facsimile of an illumination from the Book of Durrow, from the book The Church of England: A History for the People, published c.1910 (colour litho) by English School

Fan with Cupids, 17th century (gouache on paper)
CHT375174 Fan with Cupids, 17th century (gouache on paper) by French School, (17th century); Private Collection; (add.info.: Eventail aux amours; epoque Louis XIV; ); eArchives Charmet; French

Ms A 135 f. 11r Illuminated text, initial page Xpi to St
PHD791 Ms A 135 f.11r Illuminated text, initial page Xpi to St. Matthew, from the Stockholm Codex Aureus, c.750 (vellum) by English School, (8th century); Royal Library, Stockholm, Sweden; English

Viking rune stones (stone)
XIR175028 Viking rune stones (stone) by Danish School, (10th century); Jelling, Denmark; (add.info.: carved as memorials to King Gorm)

Late Saxon ring, probably c. 7th century (gold) (detail of 115707)
AMQ419854 Late Saxon ring, probably c.7th century (gold) (detail of 115707) by Anglo-Saxon; Ashmolean Museum, University of Oxford

Historiated initial B depicting King David playing a viola (vellum)
MMT215600 Historiated initial B depicting King David playing a viola (vellum) by Italian School, (16th century); Musee Marmottan Monet, Paris, France; (add.info.: Le roi David jouant de la viole)

Ms McClean 30, ff. 2v-3r: Initial pages framed with Acanthus leaves
FIT276972 Ms McClean 30, ff.2v-3r: Initial pages framed with Acanthus leaves, from the Reichenau Epistolary, late 10th century (gold ink & tempera on parchment) by Frankish School

Letter I illuminated with figurations of the bust of Jesus Christ and an evangelist, corresponding to the part of the four Gospels in the Missale Parvum, manuscript on parchment, c

Missale Parvum. Manuscript on parchment, c. 1075 - 1100, work attributed to the Scriptorium of the Cathedral of Girona

Calendar decorated with motifs of birds and humans heads in different colors, miniature in the Sacramentary of San Juan de las Abadesas, manuscript on parchment made?

Drop cap D illuminated with heads of birds and vegetables interlacing in the Sacramentary of San Juan de las Abadesas, manuscript on parchment made?

Byzantine Art. Marble slab decorated with reliefs. XI-XII ce
BYZANTINE ART. GREECE. Marble slab with lateral inscription and reliefs about intertwined crosses. Dated from latest XI century and early XII century. Byzantine Museum. Athens

Byzantine relief decorated with crosses. Marble slab. Greece
BYZANTINE ART. GREECE. Marble slab relief decorated with crosses. Dated in XI century. It comes from Athens. Byzantine Museum. Athens

Byzantine Art. Marble slab with geometrical relief. Greece
BYZANTINE ART. GREECE. Marble slab with a relief decorated about floral and geometric motifs intertwined. The central part represents an eagle circumscribed in a circle

Vase of the Gazelles. Islamic art. Detail. 14th century
Vase of the Gazelles. Glazed pottery. Nasrid Period (1301-1400).14th century. Detail depicting two gazelles facing. Alhambra Museum. Granada. Spain

Saint John of Douro. Intertwined arches. Soria. Castile
Romanesque Art. San Juan de Duero. View the intertwined arches of the cloister. XIII century. It contains elements of Romanesque, Gothic, Mudejar style and oriental influences

Christ on the Cross, 1518 (ink on paper)
XIR896003 Christ on the Cross, 1518 (ink on paper) by DAOErer or Duerer, Albrecht (1471-1528); 56x44 cm; Musee des Beaux-Arts, Rennes

Ms 19 fd2 Historiated initial B depicting King David, from the Marchiennes
XIR162699 Ms 19 fd2 Historiated initial B depicting King David, from the Marchiennes Psalter (vellum) by French School, (13th century); Bibliotheque Municipale, Douai

Europe, Portugal, Sintra, Sintra National Palace, Palatine Chapel detail

Rune stone in the grounds of Uppsala Cathedral, Sweden, Scandinavia

Carpet co-op in the Medina, Fez, Morocco, North Africa

Modern scuplpture below Mannesmann Tower, Dusseldorf, Germany, Europe

Kaiser Wilhelm church, Kurfurstendam, Berlin, Germany, Europe

Kaiser Wilhelm memorial church, Berlin, Germany, Europe

National Stadium, 2008 Beijing Olympic venue, Beijing, China, Asia

Manuscript / C12 Bible
Interlacing folial designs from a German Bible

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"Interlacing: A Tapestry of Artistic Expression Through the Ages" From the intricate marble slabs adorned with Byzantine reliefs to the finely carved details on Viking longships, interlacing patterns have captivated artists throughout history. In Byzantine art, we see the mesmerizing beauty of interlaced crosses on marble slabs, showcasing a fusion of religious symbolism and artistic craftsmanship. These delicate reliefs from the 11th and 12th centuries transport us back to a time when faith and art intertwined seamlessly. The mastery extends beyond religion, as seen in architectural fragments from the High Imperial Period. Carved decorations intricately weave together geometric motifs, revealing an appreciation for symmetry and precision that defined this era. Even in everyday objects like ship rowlocks or Late Saxon rings, we find evidence of interlacing's enduring appeal. The wooden rowlock displays exquisite carvings that mirror the waves it navigated upon, while a golden ring reveals how even small adornments can be transformed into works of art through skillful intertwining designs. Venturing further into medieval manuscripts, vellum pages come alive with elaborate initials and illustrations. In Ms 364 Letter D (Deus) Initial from Monte Cassino's Breviary or Ms 384 Christ in Glory page from Saint-Denis' Antiphonary, we witness how interwoven lines create captivating visual narratives that transcend words themselves. Not limited to Europe alone, even stone sculptures found on Gotland Island tell tales through their figures entangled within each other—a testament to interlacing's universality across cultures. Moving eastward to Shiloh in West Bank brings us face-to-floor with an early Byzantine church mosaic. Here again is evidence of interconnectedness—geometric patterns forming harmonious compositions that reflect both divine order and human creativity. Finally, our journey concludes with The Abingdon Sword, a treasure from the late Saxon period.