IN ARCHITECTURE. The leaves of both of these varieties have been copied in architectural deco ration. Those of Acanthus spinosus only were conventionalized by the Greeks in the Corinthian capital (q.v.), whose characteristic decorations they formed. as well as in other details, such as the acroterion (q.v.) of temples. monuments, or sepulchral columns, etc. In all these Grecian decorations the acanthus leaves are straight and pointed. Etruscan and early Roman works show a form of acanthus with curling, split leaves of quite different aspect. The typical Greek three-lobed acanthus was introduced into Roman architecture before the close of the Repub lic, but the Roman artists of the time of the Empire were not satisfied with its simple forms; they conventionalized it, adopted in preference the form of the more luxuriant Acanthus mollis, and combined with it the forms of other trees and plants, especially the olive, laurel, and parsley. The result was an extremely rich dec
oration of capitals, friezes, consoles, moldings, and cornices quite unknown to Greek art. The acanthus came into use also in other forms of decoration: in fresco painting, in the ornamen tation of table feet, of vases, candelabra, furni ture, goldsmith work, and embroideries. It naturally passed into post-classical ornament., together with the Corinthian capital, which was the favorite form, and we find it in early Chris tian, Byzantine, and Romanesque art. In cer tain parts of Italy it preserved its purity until the Renaissance—especially in central and southern Italy—and in southern and central France it was superseded only by Gothic foliage.
See COLUMN,