Bibliotheca Arnamagnæana. Supplementum - 01.06.2000, Qupperneq 120

SUMMARY CHAP. V
Judith on Brynjólfur’s Cana Horn (fig 70) can be
included here: it has the form of an arcade or
canopy and seems to be a simplification of
Gothic architectural motifs. Circles and medal-
lions are more commonly used as a framework.
The decoration that occurs simply as orna-
ment in its own fields is mostly derived from
the old Romanesque Icelandic Style spiral vine-
scrolls. Many of these have retained their
medieval appearance, but some have been
"modernised". This can particularly be seen in
the later form of leaf-shapes. The degree of
deviation from the earlier form of foliage, as we
know it from the medieval drinking horns and
illuminated manuscripts, provides an indica-
tion of the age of the horns and their sequence.
This has helped to decide where to place them
in the catalogue.
A general study of the foliage uncovers an
incredible conservatism, but a closer investiga-
tion shows that newer forms were gradually
creeping into the old pattern. In time even the
small Romanesque trefoil leaves could be re-
placed by large Baroque flowers! (see figs 140 &
147). One of the conservative features that
deserves mention is the narrow band of leaflets
that still borders the belts of decoration and
inscriptions on many of the post-medieval
horns.
The geometric decoration on the horns con-
sists for the most part of ribbon decoration. On
some horns it forms a dominating framework
around the figures (figs 80, 103-105); on others
there are simply bands of ribbon decoration
alone. The motifs here are exactly the same as
on the medieval horns (figs 75, 103, 143). The
ribbon decoration seems to be even more
immune to change than the foliage. The geo-
metric decoration which is not based on ribbon-
work occurs mostly as plain, narrow borders
created with incised lines or cuts.
The use of inscriptions continued. Only one
of the 28 post-medieval horns in this study
totally lacks an inscription (fig 103). Most of the
inscriptions are placed in bands around the
horns. Ten have simple incised majuscules,
which also occur in circles, as labels, etc. Only
one horn has decorative incised letters, consist-
ing of Tuscan Capitals (fig 111). Otherwise
medieval lettering in relief forms the decorative
element: höfðaletur occurs on 48 bands and
monastic script (munkaletur) on four. Particu-
larly decorative is the linked höfðaletur, which
can be so ornamental as to render it in-
decipherable (figs 74,140). Many of the inscrip-
tions also have parallel ribbons threaded
among the letters. The monastic script is de-
corative from its very style as well as from the
incised lines and cuts (figs 90,142 above).
The content of the inscriptions is given and
explained in the catalogue (p 120 ff), under item
4 for each horn. It will be seen that more than
half of the deciphered inscriptions are related to
religion: prayers or passages from the Bible in
Latin or Icelandic; words of praise or gratitude
to the Lord; or texts explaining the Biblical
scenes. A few horns carry the owner's name and
the year. Some have good wishes for the new
year, others exhort the drinker to enjoy the con-
tents of the horn.
As some of the inscriptions are in Latin, they
may be the work of clergymen. The majority of
the carvers may nevertheless have been lay-
men, like the farmer Brynjólfur Jónsson.
Finally in this chapter, some arguments are
given to justify the chronological sequence that
the horns are placed in. As with the medieval
horns, this sequence must be regarded only as a
suggestion.