Sunflower pattern, R. S. A. N.
XIX. Century
I give an illustration of a Gothic sunflower resembling a transfigured rose; and another of an ordered naturalistic sunflower pattern, from a design of the Royal School of Art Needlework. (Plate [14].)
Fig. 9.
Gothic Sunflower. From Christ’s College Chapel, Cambridge.
I have given this account of the patterns founded on the lotus, as we can almost from this distance of time take a bird’s-eye view of its rise in naturalism, its spread, dispersion, and its crystallization into conventional forms; also we can trace how the lotus patterns of Indian art have resulted, when accepted in Europe, in nothing but the rolling wave, carrying flower forms which no longer represent a lotus; and how the lotus bud and flower pattern has become in time the classical “egg and tongue;” which, however, may have resulted also from a combination of other motives.
Representations of animal forms are sometimes very remarkable in phases of naturalism. The few remains of Celtic art that have survived are entirely animal, or very nearly so. In their stone, gold, silver, and bronze work, and in illuminated MSS., we meet with only animal forms; never a flower or a leaf.
Besides the Indo-Chinese patterns in Celtic art, which suggest the Chinese lattice-work (so strongly insisted on by Semper as a constant motive), we also find in all their decorations compartments containing involved patterns of cords or strings knitted or plaited, suggesting the entrails of animals, which by these hunting people were consulted as being mysteriously prophetic of approaching events, especially success or failure in the chase, and impending warlike raids.[102] There is no other way of accounting for these designs, which are peculiar to the race, unless we believe they always represent snakes. (Pl. [15].)
In England much that was characteristic of the style was lost as soon as the Saxons drove out the Celts, who carried it to Ireland, as may be seen in the Book of Kells, and the carving of the Harp of Tara, and the Celtic jewels in the Irish museums; but the interlacing patterns survived throughout Anglo-Saxon art, and were marvellously ingenious and beautiful; witness the Durham Book of St. Cuthbert.
We have no Celtic textiles remaining to us, unless some embroidery in the Marien-Kirche collection at Dantzic may be of that style and time. This is suggested by its altogether Indo-Chinese and very barbarous character;[103] and one of the coronation mantles in Bock’s “Kleinodien” is Runic in its peculiar serpent design.