Scroll (art)

The scroll in art is an element of

of all kinds, especially those with circular or spiralling shapes.

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

(mostly for borders).

In the usual artistic convention, scrolls "apparently do not succumb to gravitational forces, as garlands and festoons 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."^[2]

Terminology

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 interlace or arabesque are used instead. Many scrolls run along a relatively narrow band, such as a frieze panel or the border of a carpet or piece of textile or ceramics, and so are often called "running scrolls",^[3] 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 meanders.

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

Later Islamic and Chinese scroll decoration often included more flowers than European designs, whether classical or medieval (see below).

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.[7] Frequently, especially in spreading designs, an upright element imitating the main stem or flower-stalk of the plant appears as a central element 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 grotesque designs, in which it is an important element, central to the composition.

Scrollwork 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 strapwork, 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.

History

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 Bronze Age; geometric scroll ornament has been found in the Palace of Knossos at Minoan Crete dating to approximately 1800 BC,^[8] perhaps drawing from even earlier Egyptian styles; there were also early examples in Mesopotamia.^[9] Geometrical scroll patterns like the Vitruvian scroll are found very widely in many cultures, and probably often developed independently.

Plant-based scrolls were very widely used in Greek and Roman architectural decoration, spreading from them to other types of objects.^[10] They may have first evolved in Greek painted pottery, where their development can traced in the large surviving corpus.^[11] In Europe Greco-Roman decoration, probably especially as seen in jewellery and floor mosaics, was adapted by the "barbarian" peoples of the Migration Period into interlace styles, often replacing the plant forms of the main scrolling stem with stretched and stylized animal forms. In Insular art the earlier interlace designs were partly replaced after Christianization by vine scrolls – a reference to John 15:1 "I am the true vine, and my Father is the gardener" – and medieval European decoration in general evolved styles that combined the two.

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 Central Asia"; they appear in China from the 5th century.^[12] The (Nelumbo nucifera) lotus flower was a symbol of Buddhism, and so very often included in these religious scroll designs from the 6th century on,^[13] 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.^[14]

It was several centuries before these designs were adapted by Chinese potters, via their earlier adoption in metalwork;

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 its own classical styles that more strictly followed their originals.

Common types

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 be infinitely expanded to cover a surface of any size, and indeed this function of decorating plain surfaces, as a form of diaper, is its chief use. From the illustration it is clear that the form present on the Ara Pacis (drawing E) erected in Imperial Rome during the time of Augustus, that is to say during the 1st quarter of the 1st century AD, is unchanged in substance when compared with the form in the apse mosaic of San Clemente al Laterano in Rome dated c. 1200 (drawing C). The basic form appears unaltered during the intervening centuries, and indeed continued in use through the Renaissance and to the present day.

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

, 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.

Applications

Scrollwork (in the popular definition) is most commonly associated with

designs.

Applications of single scroll forms can be seen in the

Western crosiers

.

Scrollwork is a technique used in cake decorating. "Albeit a bit baroque, scrollwork lends a charmingly antique quality to the sides of a cake."^[20] Scrollwork in wood may be made using a scroll saw.

• 
  Musée Guimet

  , Paris
• 
  Roman grape scrolls of the Temple of Bel, Palmyra, Syria

  , unknown architect or sculptor, late 1st-first half of the 2nd century AD
• 
  Byzantine scrolls on a ceiling of Basilica of San Vitale, Ravenna, unknown architect or craftsman, begun in c.532 and consecrated in 548^[21]
• 
  Byzantine scrolls with animals on the Throne of Archbishop Maximian of Ravenna, 546-556, ivory, Archiepiscopal Museum, Ravenna^[22]
• 
  Anglo-Saxon monumental cross with vine scroll, 8th-9th centuries, stone, British Museum^[23]
• 
  Late Anglo-Saxon scrolls in a

  Beatus initial, drawing on classical acanthus scrolls, via the Carolingian Renaissance, c.975-1000, illumination on parchment, British Library

  , London
• 
  Romanesque scrollwork on a capital in the Église Saint-Laurent-et-Notre-Dame de Gargilesse-Dampierre, Gargilesse-Dampierre, France, unknown architect, 12th century
• 
  Notre Dame de Paris

  , unknown architect or blacksmith, 12th or 13th centuries
• 
  Chinese rinceau on a bowl, 1368-1450, porcelain, Los Angeles County Museum of Art, US
• 
  Chinese charger from

  Sackler Museum, Harvard Art Museums, Cambridge, Massachusetts

  , US
• 
  Cup (guang) in the form of a rhyton with dragons and scrollwork, c.1450-1644, abraded jade, Los Angeles County Museum of Art, US
• 
  Japanese

  shakudo and gold, Walters Art Museum, Baltimore

  , US
• 
  Renaissance scrolls in the Cathedral Basilica of Saint Cecilia, Albi, France, unknown painter, c.1480
• 
  Turkish

  İznik pottery with rock and wave

  " scrolls round the rim, c.1550, stonepaste with underglaze decoration, British Museum
• 
  Islamic rinceaux of the Sheikh Lotfollah Mosque, Isfahan, Iran, designed by Ostad Mohammad Reza Isfahani, 1603-1619
• 
  Baroque scrollwork on Badia di Sant'Agata, Catania, Italy, designed by Giovanni Battista Vaccarini, 1736-1742
• 
  Baroque scrollwork and the royal arms of the Stuarts on the back of a violin, by Ralph Agutter, c.1685, pine and sycamore, Victoria and Albert Museum, London^[24]
• 
  Louis XIV style armchair with scrolls at the tops of the arms, 17th-very early 18th century, wood and upholstery, unknown location

Plant scrolls, Late antique to Early Medieval examples

• Santa Maria Maggiore, Rome. Sides of the apse mosaic, c. 432.
• Basilica di San Clemente
  , Rome, apse mosaic, c. 1200.
• Lateran, Rome, chapel of Saints Rufinus & Secundus, apse mosaic, 4th century.
• Mausoleum of Galla Placidia, Ravenna, mosaic in north lunette, c. 440.
• Treasury of
  Great Mosque of Damascus
  , mosaics of external walls, 7th century.
• Dome of the Rock Mosque, Jerusalem, mosaic in octagon, 691-2

Pattern forms

• Vitruvian scroll

Notes

References

• ISBN 0714114316

External links

Wikimedia Commons has media related to Scroll ornaments.