Even though Gerhard uses the same ornamentation as Stemline and was created in tandem with Boreal V, it is completely different than anything else in Boreal Ornament III. As Austin notes, it’s architectural. Paired with the rosemaling technique throughout, we might assume it was Gothic or even Baroque. There is something inherently grandiose about the entire work, like part of the floor plans to the Notre Dame cathedral.

According to Austin, it is also a testament to large bodies of water, and the ice formations surrounding them. Whereas we are likely to interpret them differently within Stemline, the same ornaments here fit perfectly with the notion of ice latticework and crystalline structures.