Scholars of medieval thought have occasionally noted the various manifestations of entrelacement in the literature, the art, the religious writing, and the scholarly treatises of the eleventh through thirteenth centuries. The term entrelacement refers to an aesthetic of the times, a mode of perception that can appear in different creative spheres and can assume various forms. Eugene Vinaver points out the parallels between interlace ornament in manuscript art and interlace structure in the French prose romances, and he suggests a further relationship to the scholastic principle of manifestatio. G. Webb also notes the similarity between the habits of thought producing the detailed, highly unified theology of the eleventh-century Cistercian writers and the elaborate compositions in the areas of art and literature; he comments that, 'One is conscious of magnificently uncluttered minds that rejoiced in fitting masses of detail into coordinated schemes.'

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