The Fourth Knot, Interlaced Roundel with a Round Medallion in its Center
Original title: “The Fourth Knot”, Interlaced Roundel with a Round Medallion in its Center
kurzbeschreibung
Albrecht Dürer's woodcut "The Fourth Knot" (before 1521) presents a strictly symmetrical geometric ornament of interlaced knot patterns and rosette forms. At the center lies a white medallion with a black stylized symbol, surrounded by radially arranged patterns in concentric circles. The corners of the square image field are filled with tendril-like ornaments containing knots.
Description
A small white medallion with a black stylized symbol—resembling a loop or abstract sign—sits at the center. Around it spreads a dense, radially arranged pattern of interlaced knots and rosette forms that repeat in concentric circles. In the four corners of the square field, outside the large central circle, further black ornaments resemble tendrils and leaf structures and also contain knot-like elements. The layout is strictly symmetrical: a large black circle dominates the center, while white marginal areas separate the corners.
Context
This woodcut was made before 1521 and belongs to a series of six "Knot" prints that Dürer created after Italian models. Those models trace back to Leonardo da Vinci's "Knots" (Intrecci), which circulated in Milan as engravings. Dürer adapted the motifs and published them as woodcuts, adding his monogram. The series was probably intended as a pattern book for craftsmen who used such ornaments for embroidery or intarsia.
Impact
The strictly symmetrical and radially organized arrangement creates a calming, almost meditative effect. The precise linework and the repetition of knot patterns convey a sense of craftsmanship and mathematical order. Color and figurative elements are entirely absent, which directs the viewer's attention solely to the ornamental structure.
Technique
The monochrome black-and-white printing sharpens the contrast between the densely intertwined knotwork and the white medallion at the centre, while the fine, precise lines suggest a carefully controlled cutting process. This restriction to pure line and unmodulated black allows the geometric order of the radial ornament to emerge with uncompromising clarity.
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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)