A study of the types of interlace on Northumbrian sculpture

Abstract

The introductory material of this thesis is concerned with building up a form of analysis whereby interlace might be described or compared. This is therefore involved with what can be discovered about the construction of interlace, the measurements and techniques used from the primary material. Also a system of categorising designs is put forward; by this the patterns with similar elements and the patterns with like variations of different elements may be compared. Northumbrian sculptured interlace is thus examined by taking into account factors of measurement technique and pattern types but keeping in mind the part played by the interlace in the whole ornamental programme of each work. Several groups of work become clearly defined, others remain nebulous because of their more fragmentary nature. There are found to be some very early works associated with Wearmouth-Jarrow and Hexham-Ripon. There are groups of mature interlace existing around Ripon and Lastingham in Deira and others in Bernicia, more difficult to associate with a centre but having expression at Lindisfarne and Norham, while Wearmouth, Jarrow and Tynemouth also appear to be centres of importance. The work of the late Anglian and Viking era is only followed in part. The study is specifically directed to the later work of Lindisfarne and Chester-le-Street to discover how the Anglian style of interlace survived, developed or changed through the troubled era. The study ends with a review of the best great expression of sculptured interlace of Northumbria, that belonging to the Durham revival.