Chapter IV

Acanthus Motif’s Use in Metal Work

By the early renaissance, 15th century Italians, believers in all things classically Greek,

began incorporating stylized acanthus leaves into wrought iron architectural metalwork,

primarily on door hardware such as hinges and handle plates. As the Renaissance spread

westward and northward over the 16th century, the motif gradually became widespread

throughout European ornamental metalwork. French artisans had become familiar with the stone-

carved acanthus motif in the Romanesque churches and throughout the Gothic period of the 12th

century.

New smelting technologies of the 13th century permitted iron and other ferrous metals to

be stamped into thin sheets without the usual cracking, problems that generally resulted below a

particular thick-ness. But stamped or “repoussé” metalsmithing should not be thought of as a

sterile product of a machine. The method requires imbedding hammers in the heated metal

bearing the reversed modeling of the desired form. For many centuries hand beaten gold and

silver leaf had been used as overlay to add rich hues to altar paintings. The sheets might then be

cut to the desired shape and glued onto the painting using egg yolk-based glue. (One can readily

imagine apprentice metalsmiths toiling long hours as they beat soft precious metals so thinly that

their wearisome sighs might send the leaf soaring, disappearing behind a workbench or into a

nearby fire.) The repoussé method allowed the metalsmith to create a cavity mold and to gently

hammer the sheet into the cavity. The process meant that the acanthus leaf could be hammered

out and crudely attached to late Gothic ornamental metalwork, although in France the quatrefoil

was the motif of choice.

As time wore on, the cavity molds became stylized, perhaps in the interest of expediency,

to meet the demands of large building projects. After all, the late medieval period throughout

Europe was a time of expansion for the ruling families and church.

By the early 17th century in France, the acanthus leaf had been all but forgotten under the

foliated strains of the influence of the Louis XIII style. Natural depictions of leaves of any sort

were used sparingly in wrought iron. Most foliage, in fact, was actually comprised of an intricate

pattern of scrolls and curves. Our proud acanthus leaf, alas, had become a stump of its former

self, reduced to having only blunt, unsophisticated lobes. But with art, as in life, time marches

on. The Baroque gave way to the exuberant Rococo of the 18th century, and the acanthus

bloomed again. The period is noted for its fondness of broken, unstructured, asymmetric curves,

and the acanthus became the hero of the day. In clothes, furniture, painting, and especially

ironwork, our scrophularian friend made a comeback that would do John Travolta proud.

Throughout northern Europe and across the pond to America the motif flourished.

The acanthus leaf found its way to American furniture design in the late 18th century

Neoclassical Period style. The style was characterized by symmetry and lightness with acanthus

leaf motifs. The later Empire Period furniture style incorporated the acanthus design into twisted

and fluted columns, now placed onto somewhat heavier mahogany surfaces and legs. Since that

time the acanthus has remained a familiar part of our repertoire of motifs.

The designers at Home Visions wisely took a page from

the most classical of designs, ancient Rome, to create

these historically atmospheric acanthus leaf candle wall

sconces. Acanthus leaves are an ancient motif most

often found on the finials of Corinthian pillars, which

can be found in such venerable works of art as the

Coliseum and are still in use today to add their grace and stature to the finest in Colonial homes.

Get just one of these gorgeous wall sconces to highlight a hidden nook or alcove, or get two to

frame a particularly lovely view or work of fine art. Either way, you can't go wrong with a

design element that has been in continual use for over two thousand years.

Sweeping metalwork design reveals the elegant influences of the Mediterranean regions in this

cast aluminum corner bracket. Embellished with the traditional acanthus leaf motif their

substantial design and abundant detail are certain to add visual impact wherever they are used.

Available in a wonderful variety of hand painted finishes so there is sure to be a color to suit

your needs.

A Popular Motif

When looking through photographs of ornamental metalwork, it doesn’t take long

at all to find designs using the acanthus leaf. In fact, in NOMMA’s 1997 awards

contest alone, there were a half dozen entries containing the acanthus motif. This

railing uses leaves, fleur-de-lis, and other designs to create a stunning effect. Brass

medallions were used to highlight portions of the railing. The railing, which was

designed and forged by the fabricator, is finished in flat black and highlighted with

gold leaf. Fabricator: Bandi’s Welding & Steel, Murray, KY.

The acanthus leaves in this

design provide a perfect

companion to the scrolls. This

railing continues down the

steps, and the paint finish is

flat black. Total length is 17

feet. Approx. labor time: 20

hours. Fabricator: Watson

Welding Co. Inc., Matthews, NC

Chapter VI

Acanthus Motif in Textiles

Textiles and Needlework

Textiles

in Georgia usually reflected national trends, both in style and

materials, although future research may reveal distinct regional

characteristics. Imported fabrics and machine-woven fabrics were

increasingly available in Georgia, particularly in Savannah, during the

nineteenth century. Pieced and appliquéd quilts and woven coverlets,

because they are handmade, are unique even when closely related to

national fashions. Some of the national trends embraced by women in

the state include the making of friendship and album quilts in the 1840s and 1850s and crazy

quilts in the late nineteenth century.

Schoolgirl needlework, most commonly found in the form of stitched samplers or embroidered

pictures, was popular in the United States during the late eighteenth and early nineteenth

centuries. In the past, scholars paid little attention to Southern schoolgirl needlework and

frequently believed that little, if any, was made in Georgia. Ongoing research, however, is

uncovering numerous examples.

Traditional Designs

(monochrome image)

- after the mid sixteenth century textiles designs were mostly

botanical and much more naturalistic than previously

- Image shows an early 17th century large scale damask design

featuring naturalistic botanical forms - acanthus scrolls forming

ogival medallions.

William Morris and Acanthus

When I think of William Morris, one of the first things that pops to mind is the acanthus plant.

Acanthus leaves are one of the most popular decorative motifs in Arts and Crafts design, and

they have been used extensively since the time of the ancient Greeks to depict foliage. The

Romans also made use of the leaves, as did the Byzantines. Acanthus leaf designs were also an

important aspect of Byzantine, Romanesque, Renaissance and Gothic architecture.

William Morris did countless designs featuring the acanthus

leaf and his bold interpretation of the plant was a hallmark of his style. The Woodpecker

Tapestry features them quite prominently, and most of his tapestries use acanthus leaves in the

border. Many of the books produced by Kelmscott Press also use acanthus leaves in their

illustrated borders, as do the other fabric and wallpaper designs produced by Morris and

Company. The wallpaper design featured on the right, called 'Acanthus,' was part of a group of

wallpapers that William Morris produced in the 1870s that are distinguished by boldly coloured

large patterns. This particular wallpaper required thirty blocks in order to be produced, making it

one of Morris and Company's most expensive designs at 16s a roll (source: Victoria and Albert

Museum).

If you are looking to add an Arts and Crafts touch to your garden, you can't go wrong with this

lovley plant, which symbolized "art" in the Victorian language of flowers.

In French Embroidery

Early French printed cotton textile designs were copies of the Indian and Persian motifs, slightly

revised for the French market. Due to their source of inspiration, these early designs were

oriental in flavor. Only late in the 18th century did French textile designers start to use European

flowers as inspiration for their motifs.

Because of this change in focus, by the early 19th century, the textile companies began to hire

French textile designers and often recruited well-known artists. These artist-textile designers

were highly respected for their art and the position commanded a good salary and prestige.

Their designs, created expressly for printing onto cloth, took inspiration primarily from flowers.

During the Napoleonic era, roses dominated the motifs. During the era of the Restoration (1814-

1830), new themes derived from classical antiquity were in favor, such as the acanthus leaf,

scrolls, garlands and urns, although still incorporating floral motifs. The textiles pictured below

are both from the later part of the 19th century, but depict the classical motifs that were made

popular during the Restoration.

Acanthus Leaf In Furniture

In Scandinavia, a region with strong wood carving traditions, the acanthus leaf became

incorporated into the carvings often found on the long boats. From its original serpentine

motifs of the early medieval period, the Norwegian Dragon Style underwent numerous

interpretations through the centuries, becoming infused with palm and acanthus leaf

detailing. During the Scandinavian Baroque period, circa late 17th century C.E., the acanthus

was often used as a motif on shelving and cupboards in Scandinavian houses. Based on the

sculpted Greek classical acanthus plant motif, the ornate pattern of flowers, leaves, and tendrils

was often carved in high relief. The motif was a highly popular furniture design in the region as

late as the early 19th century C.E.

Acanthus Motif in Decorative Ornaments

acanthus (decorative motif - foliage)

The acanthus is one of the most common ornaments used to depict folliage.

Architectural ornaments are carved in stone or wood in the appearance of leaves

from the Mediterranean acanthus spinosus plant, with some resemblance to

thistle, poppy and parsley leaves. Acanthus leaf ornamentation is also used in furniture,

particluarly in borders, and in ceramics too.

Acanthus Style

Symbolism of Pattern Series #2

Acanthus is one of the oldest flowers of the Mediterranean which is believed to be the symbol of

long life. These ornamental luscious leaves have influenced designs for hundreds of years and

played an important roll in architecture, fabrics, furniture,  and paper designs. In Architecture it

is defined as a carved ornament based on the leaves of the acanthus plant, found on the capital of

a Corinthian column.

The leaves were often used in  art and  architecture of ancient Greece and Rome and have

frequently been used throughout history  in the famous  “Corinthian capital”.

According to the architectural historian Vitruvius, the column was created by the sculptor

Callimachus, probably an Athenian, who drew acanthus leaves growing around a votive basket.

Well, we have come a long way when one looks at how we  have been incorporated this

beautiful leaf shape  into today’s architecture in New York and around the world.

As the Acanthus is one of the oldest flowers of the Mediterranean area, some believe it is the

symbol of  long life. A famous English wallpaper designer, William Morris popularized the 

stylized leaf amongst royalty and citizens.  He was extremely influential in  the Arts and Crafts

movement during the 20th century. It all started when Morris commissioned a new house to be

built in 1859 but could not find any textiles and furniture in the simple vernacular style he

wanted to decorate his  new home; so he decided to design them himself. His company was

called Morris and Company and he dreamed of  re-establishing traditional craftsmanship with

simplicity of design. He designed many diverse items such as stained glass, wallpaper, furniture

and textiles. His designs often incorporated floral and foliage motifs.  The Acanthus was

extremely prominent in his wallpaper and textile  designs making it extremely  popular with his

wealthy clients and the masses.

Because of the Acanthus popularity  in design and architecture, it  was often incorporated into a

wide range of products and interiors over the  next centuries. The actual leaf shape has evolved

into being known as the “Scroll.” A flowing leaf trail that is easy to live with and has been

designed into many fashion items  like shoes, bags, jewelry, furniture, bowls, watering cans,

wallpaper, lighting, moldings and many other  interior products.

We love this acanthus leaf design as it reflects style, endurance and elegance. It is especially

stylish when used in wallpaper and fabric designs.  William Morris would have loved this Carlise

acanthus scroll wallpaper pattern as it is simple and elegant yet still hints of a traditional past. A

perfect transitional design.

No wonder it means eternal life! The Acanthus design never goes out of style! Enjoy.

FOLK ART

Even people who are not fond of museums, love to see folk art. Visiting Skansen in Stockholm

or Maihaugen in Lillehammer, they do not even think they are visiting a museum. The

craftsmanship and the artistic exuberance speak so directly to us that we forget the museum

context and only see the ingenuity in the design and decoration.

Scandinavian folk art, from Viking-style ceremonial vessels to brightly painted and decorated

travelling trunks, has always created a special interest among North Americans. Right now many

on this continent are enjoying or can look forward to two major exhibitions highlighting different

aspects of tradition.

Swedish Folk Art: All Tradition is Change is presently on show at the Los Angeles Craft and

Folk Art Museum (5800-5814 Wilshire Blvd until January 26, 1997) and will continue to other

venus. It includes carved and painted furniture, textiles and costumes, painted wall images,

baskets, tableware, iron sculpture and several fragments taken from vernacular architecture, all

of which manifest the strong link between old and new folk art and past and present traditions.

Exhibition audiences can really see the kinds of changes that have affected the rituals and the

customs of the country.

The pierces are displayed in context, creating a dialogue between modernity and traditionalism,

urban and rural areas, folk arts in relation to contemporary Swedish design. Four dominant forces

are credited with re-shaping Swedish folk art: ecology, life cycles, folk costume and design.

Each of these serve as specific exhibition themes, lending universal appeal to museum audiences.

Emphasis is given to the home, the utilization of natural resources, the four seasons, ritual and

ceremonial folk art, clothing and textiles, and folk art as a source of inspiration for contemporary

art.

Four Centuries of Norwegian Folk Art Norway to America: The Migration of a Tradition is on

show at the Minnesota Museum of American Art in St Paul until February 2 and opens on

February 28 at the Nordic Heritage Museum in Seattle (3014 N.W. 67th Street Phone 206-789-

5707). The Norwegian folk art tradition is highly developed and extraordinarily complex - in

fact, its roots date to pre-historic times. The exhibit follows the folk tradition from Europe to

America and looks at its role in the immigrant culture where the tradition did not die but

acquired new meaning as an expression of ethnic pride and identity. The exhibition chronicles

four centuries in this development including todays revival that is a way for the community to

maintain its heritage.

The more than seventy works on loan from Norwegian museums start off the saga.

Approximately sixty-five objects, brought by Norwegian immigrants to America, on loan from

public and private collections in this country, develop the saga further. It continues with seventy

pieces, representing the tradition as it has been practiced in America by Norwegian-Americans

and others.

The exhibition opens with a comprehensive overview of the folk art of Norway from the 16th to

the 19th centuries. Tracing developments in carving and painting from late medieval times

through the luxuriance of the Baroque and Rococo styles, the show highlights two significant

decorative themes - the organic and the geometric. Through the centuries, the graceful rhythm of

the acanthus scroll has been juxtaposed with the dynamic angularity of intersecting lines.

Important examples of cupboards decorated with the acanthus motif, massive porridge containers

for feast tables and ritual ale vessels incorporating the undulating lines of the Viking tradition

resonate with a sophisticated sense of organic design. They are complemented by textiles woven

in geometric patterns - several with the eight-pointed star - also typical of Norwegian folk art.

The migration of Norwegian folk art to America is documented both by transported objects and

transferred traditions. Highly ornate dowry trunks, elaborately patterned coverlets and other

objects for everyday and ceremonial use are included. These functional objects and heirlooms

were brought by the immigrants and continue to hold an important place in the

NorwegianAmerican community.

The transferred tradition is represented by objects made in America. Some of these illustrate the

continuity of tradition, while others are good examples of a revival of the tradition in later

decades. Of particular note is the popularity of rosemaling, vividly colored floral decorative

painting on wood. The full flowering of rosemaling can be seen in the exhibition with

masterworks by recognized contemporary rosemalers. The objects combine traditional forms,

such as ale bowls and trunks, with colorful robust painted designs. While the Norwegian exhibits

emphasizes tradition, the Swedish exhibition goes almost overboard to demonstrate change.

Visitors are met by a spreadeagled Dala horse tufted rug looking more like a hunting trophy than

Sweden's unofficial symbol.

Folk art created by the indigenous Sami reindeer herders of Northern Scandinavia is also

represented at the Swedish exhibition. Historic and contemporary Sami handicrafts on display

help to connect the items and and their makers to the eight seasons of the Sami year, which itself

revolves around the life cycle of the herds in their numerous immigrant groups in their natural

environment.

Included in the Swedish exhibition is a "lekstuga", an interactive hands-on reconstructed typical

19th century farmhouse. The lekstuga originated at the Nordiska Museet in Stockholm, and

houses child-size furnishing, tools, utensils, clothing, books and music, and provides the area for

discussion of family life, folklore, gender roles, indigenous materials and the growing

multicultural influences on Sweden's traditional arts.

Both the Norwegian and the Swedish exhibitions are accompanied by very thorough and

beautiful books that enrich the concepts and become a reading treat for everybody who misses

the exhibits.