Here we identify the original of the supposed "palmette" motive. From Wordnik.com. [Pharaohs, Fellahs and Explorers] Reference
As for the so-called "palmette," it is neither more nor less than a variation of the lotus. From Wordnik.com. [Pharaohs, Fellahs and Explorers] Reference
The akroterion with the triton and the palmette from the left side wing. From Wordnik.com. [Interactive Dig Sagalassos - Hadrianic Nymphaeum Report 5] Reference
An ever present feature, also, is the palmette acroterium, treated in conventional ceramic style. From Wordnik.com. [The American Journal of Archaeology, 1893-1] Reference
On the front side it represents a Triton blowing a shell, and on the right side it shows a nice palmette. From Wordnik.com. [Interactive Dig Sagalassos - Hadrianic Nymphaeum Report 5] Reference
For Sir Arthur Evans has collected all the stages in the transformation of Egyptian palmette pillars into the rayed pillars of. From Wordnik.com. [The Evolution of the Dragon] Reference
It represents a female face in relief, as occurs so often in Greek pottery, surrounded by an ornament of lotus, maeander and palmette. From Wordnik.com. [The American Journal of Archaeology, 1893-1] Reference
It is moulded fully in the round, but by way of adornment, in close agreement with the tradition of vase-painting, the head is wreathed with rosettes and crowned by a single palmette. From Wordnik.com. [The American Journal of Archaeology, 1893-1] Reference
The palmette capitals of the tree-like columns are not lotus-blossom capitals, as Weinberg and other classicists once supposed, much less “proto-Aeolic” capitals as William F. Albright thought. From Wordnik.com. [Archive 2008-02-01] Reference
Assyrian palmette, most frequently figures in these. From Wordnik.com. [A Text-Book of the History of Architecture Seventh Edition, revised] Reference
In some cases the rosette and the palmette are introduced in a single picture (142). From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
Among these fragments we note an anthemion, some bits of the so-called Oriental palmette, and a few scraps of lotus pattern, naturalistically treated. From Wordnik.com. [Pharaohs, Fellahs and Explorers] Reference
It was in this way that the rosette, the cherub, the sacred tree, and the palmette passed to the West, and there served to adorn the metal-work and pottery. From Wordnik.com. [Patriarchal Palestine] Reference
The purely conventional ornaments mentioned above -- the rosette, guilloche, and lotus-flower, and probably also the palmette, were derived from Egyptian originals. From Wordnik.com. [A Text-Book of the History of Architecture Seventh Edition, revised] Reference
Thus the form of the palmette, even if derived, as is not unlikely, from the Egyptian lotus-motive, was assimilated to the more familiar palm-forms of Assyria (Fig. 20). From Wordnik.com. [A Text-Book of the History of Architecture Seventh Edition, revised] Reference
The simple rectangle is disguised under the fret, the circle and spiral assert their sway over the boundaries of the palmette, or circle and semicircle unite to form the oval so frequently used both as a unit in. From Wordnik.com. [Line and Form (1900)] Reference
We find in the historical forms of decorative art constantly recurring types of form and line, such as the lotus of the Egyptians, the anthemia of the Greeks, the pineapple-like flower and palmette of the Persians, the peony of the Chinese. From Wordnik.com. [Line and Form (1900)] Reference
Between the knop and flower that forms the outer border and the rosettes there is a band of ornament consisting of the symmetrical repetition of the palmette motive with rudimentary volutes, much as it occurs round the outside of the tree of life figured on page. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
When examined in place, the running ornament in the hollow of the cornice will be easily recognized -- in spite of the mutilation of its upper edge -- as made up of a modified form of the palmette motive, which had its origin in the fan-shaped head of the date palm. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
Bulls and goats are both alike on their knees before the palmette, which seems to suggest that the latter is an abridged representation of that sacred tree which we have already encountered and will encounter again in the bas-reliefs, where it is surrounded by scenes of adoration and sacrifice. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
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. From Wordnik.com. [Pharaohs, Fellahs and Explorers] Reference
In the form shown in Fig. 73 we find, first, a row of sixteen simple leaves, like those of a reed, with the points of a second row showing between them; then a single row of eight acanthus leaves; then the scroll-work, supporting a palmette on each side; and finally an abacus whose profile is made up of a trochilus and an ovolo. From Wordnik.com. [A History of Greek Art] Reference
Cyprus, in which the leaflets of the palmette become converted (in the. From Wordnik.com. [The Evolution of the Dragon] Reference
Goats and palmette 308 139. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
Stag upon a palmette 310 141. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
Winged bulls and palmette 309 140. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
Stag, palmette, and rosette 311 143. From Wordnik.com. [A History of Art in Chaldæa & Assyria, v. 1] Reference
(rosettes, lotus, palmette), and occasionally human figures. From Wordnik.com. [How to Observe in Archaeology] Reference
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