The rhythm of the Medieval labyrinthThe rhythmical structure of the Medieval labyrinthI think I am the first to discover (or to pretend) that the Medieval labyrinth is a graphic solution to a rhythmical problem. Indeed, the objective of the design of the Medieval labyrinth was to build a well-rhythmed path. And this rhythmical objective is anterior and principal in relation to any symbolical or representative intention on the part of the draftsman, which would then be secondary and circumstantial.For a short description of that rhythmical structure, see the rhythmical secret of the Medieval labyrinth. The perception of the rhythmical structure of the Medieval labyrinth is made easier, when tracing it with a physical movement (even just with eye movements), by the production of an accompanying sound, like a non-vocal hissing or hushing sound, with the variation of pitch (resulting from variations in the form of the mouth) and intensity following the changes in the muscular tensions associated with the movements suggested by the labyrinth. This sound is of course reminiscent of the wind and may be associated with atavistic meanings. Three rules should be respected: the unit of time is always equal to the traveling of a one-quadrant segment (therefore, the linear speed is variable); the radial segments (the crossings) are counted no time (but they have a function of articulation or punctuation); the sound should be continuous during longer (two-quadrant) segments. Once known, the rhythmical structure of the Medieval labyrinth gives a new dimension to the symbolic or metaphorical use of that figure. Rhythm is its "raison d'être". Rhythm explains its general structure and the arrangement of its parts. This new rhythmical dimension of the labyrinth figure is transferable to all applications of the metaphor. An object or a situation is usually assimilated to the labyrinth because of its complexity. Now the hidden rhythm of the labyrinth suggests that the most complex and inextricable situation or structure is built around its own secret rhythm which, once understood, will give its reason and solution. Almost everything that is on this site is built on that new rhythmical theory. Therefore, many of the ideas proposed here are new.
For a complete presentation of that theory, which I think is necessary to the comprehension of the phenomenon of the Medieval labyrinth, I refer to my book: Home page. |