The number of fronds is variable, but typically between five and about fifteen. There may be a central frond that is larger than the rest. The essence of the palmette is a symmetrical group of spreading "fronds" that spread out from a single base, normally widening as they go out, before ending at a rounded or fairly blunt pointed tip. The half-palmette, bisected vertically, is also a very common motif, found in many mutated and vestigial forms, and especially important in the development of plant-based scroll ornament. The complex evolution of the palmette was first traced by Alois Riegl in his Stilfragen of 1893. It is very often a component of the design of a frieze or border. It is found in most artistic media, but especially as an architectural ornament, whether carved or painted, and painted on ceramics. In ancient Greek and Roman uses it is also known as the anthemion (from the Greek ανθέμιον, a flower). It has a far-reaching history, originating in ancient Egypt with a subsequent development through the art of most of Eurasia, often in forms that bear relatively little resemblance to the original. The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. Page in which appear various illustrations of palmettes, from A handbook of Ornament by Franz Meyer (1898) Etruscan architectural plaque with palmettes, from late 4th century BC, painted terracotta, in the Metropolitan Museum of Art, New York City A decorative motif based on the fan-shaped leaves of a palm tree
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