Late Gothic frieze

Consisting of five reliefs
Alpine, Salzburg
Around 1500/20

Carved limewood
Each 47.5 x 130.5 cm, or 48 x 47.5 cm
Total length of frieze 487.5 cm

Pair of hippocamp-like horses & three stylized floral patterns

Lime wood

Each 47.5 x 130.5 cm or 48 x 47.5 cm (total length of frieze 487.5 cm)

The five museum reliefs, which form a frieze in their entirety, testify to remarkable craftsmanship, combining detailed carvings with an elaborate design. Two reliefs show hippocampus-like horses whose bodies are transformed in the middle into a magnificent floral tendril, the leaves resembling an acanthus. These horses, in dynamic movement, are carved with great precision; their muscular forms flow into tendrils that twist spectacularly into blossoms of various shapes. The horses’ manes are so detailed that the flowing hair seems to be caught by a gust of wind as the horses gallop, conveying an expression of vibrant energy.

A hippocamp is a mythical creature that usually combines the upper body of a horse with the tail of a fish, but can also be fused with foliage in another constellation, as in this case. In the Middle Ages, the hippocamp combined the qualities of the horse – strength, movement and nobility – with the fantastic and was often depicted in decorative art to convey themes of power and transformation. It was a popular motif in art, particularly in architectural and ornamental carvings, where artists could depict the blending of different forces – both natural and supernatural – reflecting the period’s fascination with hybridity, the merging of different worlds and the magical.

Another longitudinal rectangular relief depicts a pronounced arabesque pattern: A heart shape is shown in the center, entwined by delicate filigree tendrils. Three-part leaf motifs, which play a prominent role in many decorative arts, extend outwards and emphasize the complexity of the pattern. The skillful lines and symmetry of the tendrils testify to aesthetic harmony and sweeping movement. The spectacular sculptural shaping of the individual motifs creates a visually captivating pattern.

Two further square reliefs show a symmetrical, curved vine ornament with a central three-petalled flower growing from a stem with parallel, fleshy, sprawling leaves. Towards the top, two volute tendrils enclose five-petaled flowers that complete the overall picture. The fine execution of these five reliefs emphasizes the carver’s skill, particularly in the depiction of the dynamics and texture of both the animals and the natural elements.

The hippocamp-like horses and the floral arabesques can be classified as so-called “grotesques” due to their imaginative blending of natural and mythical forms. Grotesques in art refer to fantastic, often bizarre or whimsical depictions of animal and plant forms that typically merge together in intricate patterns. Particularly in the late Gothic and early Renaissance periods, such hybrid forms were popular in both architecture and decorative art.

These limewood reliefs have a golden-brown patina that enhances their luxurious appeal. They were probably part of an elaborate decorative concept in an interior, possibly in a courtly setting, where such filigree woodwork enhanced the aesthetic and symbolic value of the room. Their style is similar to the detailed decorations in the Golden Parlor of the Hohensalzburg Fortress from 1501/02, which is known for its opulent and ornate interior decoration. Similar to the Golden Parlor, these reliefs probably served not only as aesthetic elements, but also as symbols of power, wealth and sophistication, adding to the grandeur of the intended ambience.

Around the turn of the 16th century, the playful and imaginative combination of figures, animals and plant elements in carving was a popular artistic trend, particularly in Northern Europe. This blending of the natural and the fantastical can be seen in various decorative works from this period, in which animals become plants and are intertwined with foliage. Another well-known example of this style can be found in the so-called “inverted world” of Master Hans in the Regierungsratssaal in Basel’s town hall. Here, the imagery of intertwined creatures and plants serves as a playful commentary on the reversal of the natural order. This trend reflects the period’s fascination with hybridity, in which natural forms were reinvented and combined in a highly detailed and ornamental way.

The reliefs presented here, with their mixed forms, are closely linked to the decorative traditions that were popular from the late 15th century onwards and were strongly influenced by classical antiquity. The complex mixture of different forms also reflects the ornamentation found in the works of artists such as Agostino Veneziano or Agostino dei Musi (c. 1490 – c. 1540), particularly in his engravings inspired by ancient Roman monuments such as the Ara Pacis. His designs, with their zoomorphic and hybrid creatures intertwined in intricate tendrils, have a similar decorative language to the fluid forms of the reliefs (see MET 24.10.16). These works emphasize the revival of classical ornamentation and interpret it with fresh and imaginative expressions for 16th century aesthetics. This reflection of antiquity in decorative designs underscores not only its enduring influence, but also the creative transformation of ancient motifs into the distinctive, imaginative styles of the late Gothic and early Renaissance.

This five-part relief frieze represents a rich fusion of classical inspiration with the evolving decorative sensibilities of its time, creating a dynamic and original visual language.

Literature:

David Landau – Peter Parshall, The Renaissance Print, New Haven 1996.

Martin Möhle, The Town Hall in Basel, Bern 2014.

Salzburg Museum Carolino Augusteum – Anton Legner (ed.), Late Gothic in Salzburg.

Sculpture and Decorative Arts 1400-1530. exhibition catalog, Salzburg 1976.