Domkirkens krypt, Otranto 1835

Here we have Martinus Rørbye’s sketch of the crypt of Otranto Cathedral, a work made with graphite on paper. Note the cross, emblem of faith, lightly etched onto one of the columns. It evokes the cathedral's sacred purpose, a beacon of Christianity. But let your eyes travel further down that column and you will notice the arabesque patterns wrapped around it. Such designs are reminiscent of Byzantine art, a visual echo of cross-cultural exchange. Recall, for example, the mosaic floors of Roman villas, repurposed with Christian symbols, or the endless knot patterns in Celtic art, symbols of eternity adapted for Christian manuscripts. The play of light and shadow in the crypt hints at something profound, a collective memory residing within the cathedral's stones, engaging viewers on a deep, subconscious level. Such symbols are never truly lost; they resurface, evolve, and take on new meanings.