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White vine-stems, left and down, decorate the margins and the initial V of this page in Life of Alphonso VI, King of Aragon and Naples, an Italian manuscript from c. 1460. A white vine-stem or white vine is a kind of border or initial decoration found in illuminated manuscripts and incunabula.
Originally a vignette was a design of vine-leaves and tendrils (vignette = small vine in French). [1] The term was also used for a small embellishment without border, in what otherwise would have been a blank space, such as that found on a title-page , a headpiece or tailpiece.
Curling acanthus-type leaves occur frequently in the borders and ornamented initial letters of illuminated manuscripts, and are commonly found in combination with palmettes in woven silk textiles. In the Renaissance classical models were followed closely, and the acanthus becomes recognisable again in large-scale architectural examples. The ...
The scroll in art is an element of ornament and graphic design featuring spirals and rolling incomplete circle motifs, some of which resemble the edge-on view of a book or document in scroll form, though many types are plant-scrolls, which loosely represent plant forms such as vines, with leaves or flowers attached.
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Meanders are common decorative elements in Greek and Roman art. In ancient Greece they appear in many architectural friezes, and in bands on the pottery of ancient Greece from the Geometric period onward. The design is common to the present-day in classicizing architecture, and is adopted frequently as a decorative motif for borders for many ...
The designs of the throne's front include the vine-stem design, which was heavily used in Early Christian art. [9] The artists that created the throne incorporated animals and birds within the vines. [6] On the lower border of the front of the seat contains two lion guards guarding the vase from which the vines emerge.
As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque ...