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protruding vertically from the base, again as in the Ara Pacis panel. This may be termed a "standard" but is not a necessary element; it gives the design a top and bottom, which may be appropriate for architecture or furniture, but many designs on textiles and pottery are intended to have no main orientation for the viewer. The standard was frequently depicted as a fanciful candelabra in
249:, as the ends of otherwise flat elements, loosely imitating leather, metal sheets, or broad leaves rather than plant tendrils. Rather than the "profile" view displaying the spiral, the forms are often shown front on with the width of the strip seen. It begins in the Renaissance, and becomes increasingly popular in Mannerist and Baroque ornament.
370:
was heavily influenced by China. From the late medieval period onwards
Chinese and Indian scrolling styles, and their Islamic cousins, were imported to Europe on pottery and textiles, reaching a peak of influence in the 18th-century. In the Renaissance Europe had also revived interest in versions of
234:
Scroll-forms containing animals or human figures are said to be "inhabited"; more often than not the figures are wildly out of scale with the plant forms. Frequently, especially in spreading designs, an upright element imitating the main stem or flower-stalk of the plant appears as a central element
666:
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In one common spreading type for wide areas, the basic form of the arabesque is a heart shape formed from two confronted volutes on stems, shown highlighted in green in the illustration. To this core are added any number of further volutes, above, below or to the sides. It is thus a motif which can
182:
panel or the border of a carpet or piece of textile or ceramics, and so are often called "running scrolls", while others spread to cover wide areas, and are often infinitely expandible. Similar motifs made up of straight lines and right angles, such as the "Greek key", are more often called
900:
325:, and so very often included in these religious scroll designs from the 6th century on, which was to have a profound influence on Asian scroll designs, long after the religious significance had been largely or entirely forgotten, and in places where the actual lotus water plant was unknown.
626:
963:
762:
416:, Byzantine work of the 7th century. This form is also encountered at the Treasury in Damascus, having a pair of volutes turned inwards towards the bowl. The form is generally used alone and does not sprout further volutes as generally does the core heart-shaped form.
790:
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do, or oppose them, in the manner of vertically growing trees. This gives scrolls a relentless power. Even if attached to walls, they are more deeply embedded in the architectural order than the festoon, which are fictitiously hanging on them."
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Another expansion was to the East: "The practice of decorating facades in
Chinese Buddhist caves with figures combined with leaf scrolls was derived in its entirety from provincial forms of Hellenistic architecture employed in
535:
129:
Scroll decoration has been used for the decoration of a vast range of objects, in all
Eurasian cultures, and most beyond. A lengthy evolution over the last two millennia has taken forms of plant-based scroll decoration from
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585:
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with many stems and tendrils that scrolls generally represent. Later
Islamic and Chinese scroll decoration often included more flowers than European designs, whether classical or medieval (see below).
336:, probably influenced by metalwork from the West, and more abstracted or geometrical scroll designs appear earlier in Chinese art. The paeony seems to have become very fashionable in China during the
190:
In art history, a "floriated" or "flower scroll" has flowers, often in the centre of the volutes, and a "foliated" or "leaf scroll" shows leaves in varying degrees of profusion along the stems. The
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508:
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Continuous scroll decoration has a very long history, and such patterns were an essential element of classical and medieval decoration. The use of scrolls in ornament goes back to at least the
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818:
90:, Rome, stucco relief, 2nd century *D: Lateran, Rome, SS. Rufinus & Secundus, mosaic, 4th century *A: Dome of the Rock, Jerusalem, mosaic, 691-2 *C: San Clemente, Rome, mosaic, c. 1200
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In other types the heart-shaped core is omitted, the scroll taking the form of an "S" with voluted ends, generally seen in confronted pairs, as in the mosaics of the
Treasury of the
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Typically in true scrolls the main "stem" lines do not cross over each other, or not significantly. When crossing stems become a dominant feature in the design, terms such as
891:
80:
Examples of one basic form of the scroll, taken from existing monuments. Note the common core element of the heart shaped confronted volutes & stem, highlighted in green.
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Plant-based scrolls were very widely used in Greek and Roman architectural decoration, spreading from them to other types of objects. They may have first evolved in
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mosaics are profusely foliated with thick leaves forming segments of the stems. As in arabesques, the "leaf" forms often spring directly from the stem without a
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plant scroll designs became very important in painted pottery. In the
Islamic world the external influences were initially mainly from their Byzantine and
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in its strict meaning is rather different; the scroll is imagined as the curling end of a strip or sheet of some flat and wide material. It develops from
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in southern India, from where they spread to South-East Asia, with additional input from China. There they often became very abstracted in pottery.
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is a term for some forms of decoration dominated by spiralling scrolls, today used in popular language for two-dimensional decorative flourishes and
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in Rome dated c. 1200 (drawing C). The basic form appears unaltered during the intervening centuries, and indeed continued in use through the
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It was several centuries before these designs were adapted by
Chinese potters, via their earlier adoption in metalwork; indeed an isolated
68:, Rome, c. 27 AD. A spreading scrollwork panel below, scrolling forms coming off a straight stem in the side panels, and a border band of
498:. "Albeit a bit baroque, scrollwork lends a charmingly antique quality to the sides of a cake." Scrollwork in wood may be made using a
307:"I am the true vine, and my Father is the gardener" – and medieval European decoration in general evolved styles that combined the two.
50:
352:, from Chinese designs, especially in pottery, which themselves had developed from the original Buddhist importation to China.
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into interlace styles, often replacing the plant forms of the main scrolling stem with stretched and stylized animal forms. In
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1288:
394:, that is to say during the 1st quarter of the 1st century AD, is unchanged in substance when compared with the form in the
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be infinitely expanded to cover a surface of any size, and indeed this function of decorating plain surfaces, as a form of
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dating to approximately 1800 BC, perhaps drawing from even earlier
Egyptian styles; there were also early examples in
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226:, faithful representation is rarely the point of the design, as of these four only the vine is actually the sort of
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armchair with scrolls at the tops of the arms, 17th-very early 18th century, wood and upholstery, unknown location
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In the usual artistic convention, scrolls "apparently do not succumb to gravitational forces, as garlands and
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the earlier interlace designs were partly replaced after
Christianization by vine scrolls – a reference to
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and rolling incomplete circle motifs, some of which resemble the edge-on view of a book or document in
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Rose Levy
Beranbaum, 1988, The Cake Bible, p.403-404. New York: William Morrow and Company, Inc
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291:. In Europe Greco-Roman decoration, probably especially as seen in jewellery and floor
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to Europe. They are very widespread in architectural decoration, woodcarving, painted
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in ways that few if any real plants do; these are generally derived from the ancient
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are found very widely in many cultures, and probably often developed independently.
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forms often terminated in scrolls. Modern blacksmiths use scrolls in ornamental
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Chapter Six: "The 'Inhabited Scrolls' Mosaic Pavements - A Sixth Century Trend"
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are used instead. Many scrolls run along a relatively narrow band, such as a
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Ancient Mosaic Pavements: Themes, Issues, and Trends : Selected Studies
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with geometric scrollwork design, not imitating plant forms, unknown date,
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998:, Rome, chapel of Saints Rufinus & Secundus, apse mosaic, 4th century.
556:, unknown architect or sculptor, late 1st-first half of the 2nd century AD
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designs, in which it is an important element, central to the composition.
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Scrollwork (in the popular definition) is most commonly associated with
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its own classical styles that more strictly followed their originals.
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of all kinds, especially those with circular or spiralling shapes.
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scrolls are foliated and sparingly floriated, whilst those in the
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gates and balustrades, and they have formed the basis of many
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monumental cross with vine scroll, 8th-9th centuries, stone,
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Band of running scroll decoration on the 12th-century Indian
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261:; geometric scroll ornament has been found in the Palace of
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motif, with the stem running along the bisected edge of the
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1550, stonepaste with underglaze decoration, British Museum
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677:Église Saint-Laurent-et-Notre-Dame de Gargilesse-Dampierre
705:, unknown architect or blacksmith, 12th or 13th centuries
390:(drawing E) erected in Imperial Rome during the time of
463:
Applications of single scroll forms can be seen in the
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Plant scrolls, Late antique to Early Medieval examples
46:, 1271–1368, with three zones of scrolls with flowers
575:, Ravenna, unknown architect or craftsman, begun in
315:"; they appear in China from the 5th century. The (
332:cup with a vine scroll comes from the 5th-century
1053:, 3rd edn 1968, Penguin Books Ltd, plates 109-115
1739:
295:, was adapted by the "barbarian" peoples of the
1092:Hellenistic Architecture: An Introductory Study
348:predecessors, but later, especially after the
340:, and often replaced the lotus flower. By the
114:, which loosely represent plant forms such as
1420:
1113:Rawson, Chapters 1 and 2, cover these in turn
933:Baroque scrollwork and the royal arms of the
1306:The Glory of Byzantium and early Christendom
1281:The Glory of Byzantium and early Christendom
701:spreading scrolls with flowers on a door of
1064:Histories of Ornament: From Global to Local
1017:Mosque, Jerusalem, mosaic in octagon, 691-2
1004:, Ravenna, mosaic in north lunette, c. 440.
1427:
1413:
1387:Chinese Ornament: The Lotus and the Dragon
1011:, mosaics of external walls, 7th century.
986:, Rome. Sides of the apse mosaic, c. 432.
720:rinceau on a bowl, 1368-1450, porcelain,
683:, France, unknown architect, 12th century
1303:
1278:
1066:, 92, 2016, Princeton University Press,
596:Throne of Archbishop Maximian of Ravenna
276:. Geometrical scroll patterns like the
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54:Austrian inhabited scroll frieze, 1890s
14:
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1389:, 1984, British Museum Publications,
118:, with leaves or flowers attached.
1045:Drawings based on illustrations in
829:Cathedral Basilica of Saint Cecilia
24:
1197:Rawson, 23 (quoted), and Chapter 1
494:Scrollwork is a technique used in
487:in nature), and the heads of many
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1062:Necipoğlu, Gülru, Payne, Alina,
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321:) lotus flower was a symbol of
86:, sculpture, c. 27 AD *B:
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632:Late Anglo-Saxon scrolls in a
525:), 2nd-3rd century AD, stone,
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992:, Rome, apse mosaic, c. 1200.
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776:with dragons and scrollwork,
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102:and graphic design featuring
1160:, Modern Antiquarian (20013)
937:on the back of a violin, by
892:Ostad Mohammad Reza Isfahani
594:scrolls with animals on the
110:form, though many types are
62:The "Tellus Panel" from the
7:
1002:Mausoleum of Galla Placidia
919:Giovanni Battista Vaccarini
835:, France, unknown painter,
10:
1784:
1304:Eastmond, Anthony (2013).
1279:Eastmond, Anthony (2013).
1251:Rawson, 27, and throughout
955:Victoria and Albert Museum
579:532 and consecrated in 548
252:
1724:
1442:
859:" scrolls round the rim,
780:1450-1644, abraded jade,
1768:Ornaments (architecture)
1242:Rawson, 64-65, Chapter 2
1095:, 1965, CUP, pp. 102-103
1033:
1009:Great Mosque of Damascus
990:Basilica di San Clemente
571:scrolls on a ceiling of
517:floral scrolls from the
414:Great Mosque of Damascus
409:and to the present day.
403:San Clemente al Laterano
98:in art is an element of
1308:. Phaidon. p. 83.
1283:. Phaidon. p. 81.
1134:, in Hachlili, Rachel,
880:Sheikh Lotfollah Mosque
642:Carolingian Renaissance
636:, drawing on classical
152:illuminated manuscripts
138:, and then back across
1758:Architectural elements
573:Basilica of San Vitale
479:on instruments in the
154:(mostly for borders).
91:
73:
55:
47:
35:
1359:collections.vam.ac.uk
917:, Italy, designed by
736:Chinese charger from
600:Archiepiscopal Museum
544:grape scrolls of the
285:Greek painted pottery
79:
61:
53:
41:
30:
984:Santa Maria Maggiore
681:Gargilesse-Dampierre
426:Baroque architecture
911:Badia di Sant'Agata
772:) in the form of a
746:Harvard Art Museums
703:Notre Dame de Paris
33:Hoysaleswara Temple
1330:"monumental cross"
1158:Knossos fieldnotes
1155:C. Michael Hogan,
1047:Rice, David Talbot
806:Walters Art Museum
598:, 546-556, ivory,
519:Shotorak Monastery
475:at the end of the
467:at the head of an
356:Greco-Buddhist art
92:
74:
72:below the figures.
56:
48:
36:
1735:
1734:
1334:britishmuseum.org
1315:978-0-7148-4810-5
1290:978-0-7148-4810-5
1206:Rawson, chapter 2
1179:Rawson, Chapter 1
640:scrolls, via the
454:wrought-iron work
16:(Redirected from
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134:architecture to
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1663:Puer mingens
1522:Egg-and-dart
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699:wrought-iron
650:illumination
527:Musée Guimet
493:
483:(resembling
469:Ionic column
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375:Common types
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342:Yuan dynasty
338:Tang dynasty
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1462:Ball flower
921:, 1736-1742
894:, 1603-1619
825:Renaissance
615:Anglo-Saxon
523:Afghanistan
485:fiddleheads
407:Renaissance
330:gilt-bronze
301:Insular art
274:Mesopotamia
166:Terminology
132:Greco-Roman
1742:Categories
1621:Millefleur
1537:Gadrooning
1502:Cornucopia
1477:Branchwork
1472:Blackamoor
1395:0714114316
1377:References
1144:9004167544
1072:0691167281
804:and gold,
673:Romanesque
648:975-1000,
500:scroll saw
259:Bronze Age
243:Scrollwork
200:leaf stalk
124:arabesques
120:Scrollwork
44:Jingdezhen
18:Scrollwork
1763:Ornaments
1698:Strapwork
1616:Medallion
1591:Interlace
1571:Guilloché
1566:Grotesque
1561:Green Man
1517:Dog-tooth
1497:Christmas
1492:Cartouche
1482:Bucranium
1457:Arabesque
1436:Ornaments
1365:9 January
1339:9 January
810:Baltimore
796:Japanese
750:Cambridge
654:parchment
602:, Ravenna
592:Byzantine
569:Byzantine
460:designs.
458:wallpaper
450:strapwork
446:Mannerism
442:engraving
438:porcelain
434:metalwork
430:furniture
387:Ara Pacis
364:Amaravati
305:John 15:1
247:strapwork
237:grotesque
192:Ara Pacis
176:arabesque
172:interlace
84:Ara Pacis
82:Key: *E:
65:Ara Pacis
1636:Palmette
1631:Moresque
1606:Mascaron
1507:Curlicue
1447:Acanthus
1355:"Violin"
957:, London
951:sycamore
851:Turkish
660:, London
638:acanthus
515:Gandhara
392:Augustus
346:Sasanian
323:Buddhism
212:acanthus
208:palmette
185:meanders
159:festoons
144:ceramics
100:ornament
70:meanders
1718:Zellige
1683:Rosette
1678:Rinceau
1646:Bulbous
1626:Molding
1611:Meander
1601:Margent
1581:Hilarri
1527:Festoon
1452:Antefix
996:Lateran
935:Stuarts
915:Catania
907:Baroque
884:Isfahan
876:Islamic
802:shakudo
738:Jiangxi
718:Chinese
550:Palmyra
529:, Paris
465:volutes
293:mosaics
263:Knossos
253:History
140:Eurasia
104:spirals
1708:Volute
1688:Scroll
1596:Lintel
1542:Garden
1512:Dentil
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289:corpus
267:Minoan
224:paeony
180:frieze
150:, and
148:mosaic
108:scroll
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1034:Notes
855:with
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542:Roman
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360:stupa
270:Crete
220:lotus
116:vines
1693:Spur
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1532:Foil
1487:Buta
1391:ISBN
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888:Iran
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