from The American Heritage® Dictionary of the English Language, 4th Edition
- n. A pattern of honeysuckle or palm leaves in a radiating cluster, used as a motif in Greek art.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. A palmette.
from the GNU version of the Collaborative International Dictionary of English
- A floral ornament. See palmette
from The Century Dictionary and Cyclopedia
- n. In art and archaeology: A characteristic palmette or honeysuckle ornament, varying in detail, but constant in type, of very frequent occurrence both in single examples and in series, in vase-painting, in architectural sculpture, in jewelry and dress-fabrics, and in all other decorative work of Greek origin from very early times, and later in ornament derived from the Greek.
They oohed and ahhed over the jasperware fireplace surround and anthemion moldings in the drawing room, the crystal chandelier in the large dining room, and the fine Chippendale dressing table in the master bedchamber.
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There was always a combination of the straight line and the curve, a strong feeling of balance, and a profusion of ornament in the way of scrolls, garlands, shells, the acanthus, anthemion, etc.
He often used the three feathers of the Prince of Wales, sheaves of wheat, anthemion, urns, and festoons of drapery, all beautifully carved, and forming the splat.
It is noticeable, however, that it almost completely ignored the most characteristic and popular of the Greek forms -- for example, the anthemion -- and adapted those, such as the acanthus and the scroll, which had been considered of minor importance among the
The most characteristic feature of Greek ornament is the anthemion, a conventionalized flower form resembling our honeysuckle bud, which was usually alternated with the lotus or lily form bud.
Some of the principal characteristics of the Cinquecento style are the delicate arabesque scroll work, the profusion and beauty of the curves, its admirable variations of standard classic ornaments, such as the anthemion and scroll.
Among these fragments we note an anthemion, some bits of the so-called Oriental palmette, and a few scraps of lotus pattern, naturalistically treated.
[Page 186] duced in the painted vases of Rhodes and Cyprus; it blossomed in ordered beauty along the entablature of the Erectheum; as an anthemion, it crowned the pediment of the Parthenon; and it enriched the prize vases awarded to victors in the Panathenaic games.
That the anthemion and the palmette are lotus motives conventionally treated has been conclusively demonstrated by Mr.W. H. Goodyear in a series of examples from Egyptian, Cypriote, Greek, and Græco-Roman monuments, which trace the evolution of these forms step by step, and leave no room for debate.