Interlace (visual arts)

In the visual arts, interlace is a decorative element found in medieval art. In interlace, bands or portions of other motifs are looped, braided, and knotted in complex geometric patterns, often to fill a space. Interlacing is common in the Migration period art of Northern Europe, especially in the Insular art of the British Isles and Norse art of the Early Middle Ages and in Islamic art.

Intricate braided and interlaced patterns, called plaits in British usage, are found in late Roman art in many parts of Europe, in mosaic floors and other media. Coptic manuscripts and textiles of 5th- and 6th-century Christian Egypt are decorated with broad-strand ribbon interlace ornament bearing a "striking resemblance" to the earliest types of knotwork found in the Insular art manuscripts of the British Isles.

Interlace is a key feature of the "Style II" animal style decoration of Migration Period art, and is found widely across Northern Europe, and was carried by the Lombards into Northern Italy. Typically the long "ribbons" eventually terminate in an animal's head. By about 700 it becomes less common in most of Europe, but continues to develop in the British Isles and Scandinavia, where it is found on metalwork, woodcarving, runestones, high crosses, and illuminated manuscripts of the 7th to 12th centuries. Artist George Bain has characterised the early Insular knotwork found in the 7th-century Book of Durrow and the Durham Cathedral Gospel Book fragment as "broken and rejoined" braids. Whether Coptic braid patterns were transmitted directly to Hiberno-Scottish monasteries from the eastern Mediterranean or came via Lombardic Italy is uncertain. Art historian James Johnson Sweeney argued for direct communication between the scriptoria of Early Christian Ireland and the Coptic monasteries of Egypt.

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