Some scholars in Denmark attempted to identify the Goths with the Jutes; however, these ideas did not lead to the same widespread cultural movement in Danish society as it did in the Swedish. In contrast with the Swedes, the Danes of this era did not forward claims to political legitimacy based on assertions that their country was the original homeland of the Goths or that the conquest of the Roman Empire was proof of their own country's military valour and power through history.[2]
During the 17th century, Danes and Swedes competed for the collection and publication of Icelandicmanuscripts, Norse sagas, and the two Eddas. In Sweden, the Icelandic manuscripts became part of an origin myth and were seen as proof that the greatness and heroism of the ancient Geats had been passed down through the generations to the current population. This pride culminated in the publication of Olaus Rudbeck's treatise Atland eller Manheim (1679–1702), in which he claimed that Sweden was identical to Atlantis.
In Scandinavianarchitecture, Gothicism had its prime in the 1860s and 1870s, but it continued until c. 1900. The interest in Old Norse subjects led to the creation of a special architecture in wood inspired by stave churches, and it was in Norway that the style had its largest impact. The details that are often found in this style are dragon heads, from which it is often called dragon style, false arcades, lathed colonnades, protruding lofts and a ridged roof.
Sondrup, Steven P. and Virgil Nemoianu (2004). Nonfictional Romantic Prose: Expanding Borders. In the International Comparative Literature Association's History of Literatures in European Languages series. John Benjamins Publishing Company, 2004, ISBN90-272-3451-5, p. 143.
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