A rosette (from the French 'rosette’, meaning ‘little rose’) is an ornament inscribed in a circle, usually in the shape of a flower with concentric petals. It can also consist of geometric or other abstract motifs symmetrical with regard to the centre of the circle. Thus, the history of decorative and applied arts and architecture immortalises the fact that ancient masters were inspired by the beauty of nature. In Ancient Egypt, the subject of contemplation was the blossoming lotus, while in Assyria it was inspired by daisies and chamomiles. Similar motifs are found in the art of ancient Mesopotamia, ancient Persia, India (in the form of the ‘wheel of Saṃsāra), and China. The geometric image of a 16-petal yellow or orange chrysanthemum flower is the unofficial coat of arms and imperial seal of Japan. In Ancient Greece, rosettes adorned funerary steles. In Greek architecture of the Doric order, and in Roman architecture of the Tuscan and Composite orders, gilded bronze rosettes were used on friezes and ceilings. They were also used in the Romanesque style. A large number of rosettes adorned the facades of Gothic churches. In Gothic architecture, the architectural rosette turned into a large round window, which became one of the characteristic features of the style.

In Byzantium and Carolingian Empire, reliquaries were made – boxes made of ivory and decorated with gilded rosettes. Hence the name: ‘boxes with rosettes’ (German: Rosettenkästen). In Western Europe during the Middle Ages, with the development of the cult of the ‘Madonna of the Roses,’ the rosette motif acquired new symbolic meanings. In rose gardens – pictorial compositions celebrating the Madonna – the number of rose petals had liturgical significance. In the art of Classicism, Neoclassicism and Empire style of subsequent centuries, the motif of rosettes was used everywhere: in architecture, wood carving, furniture, decorative fabrics, bronze items, that is, they testified to a return to the ancient classical tradition.

During excavations of Old Ladoga from the 8^th – 11^th centuries to the Northwest of Russ, archaeologists found women's jewellery (pendants: kolts, ‘temple rings’) made of spiral rings and ‘lunnitsa’ (a bronze, silver, or, less commonly, gold decoration in the shape of a crescent moon), typical of ancient Scandinavian art. Circular rosettes with spiral lines radiating from the centre, creating an optical illusion of rotation, are called ‘vortex’ rosettes. Such rosettes are similar to the most ancient symbols of fire (the swastika) and water (the meander). In ancient Russian art of the 10^th – 12^th centuries, vortex rosettes were called ‘water whirlpools.’ Such shapes are found in metalwork of the ancient Vikings, who probably brought them to Russia: to Staraya Ladoga and Kiev. Similar gold and silver decorations were made in Byzantium.

Rosettes can be embossed, moulded, enamelled, or flat, imitating three-dimensionality, using the monochrome grisaille painting technique. Rosettes are often found in mosaic ornaments, in inlay work, and in geometric straw appliqué, and represent ornamental elements in the form of a closed composition constructed using a plane and axis of symmetry. There are three ways to construct rosettes: mirrored – one plane of symmetry is involved in the construction; rotation – the composition of the rosette is based on the rotation of the ornamental element around the axis of symmetry; mixed – both the axis and planes of symmetry are involved in the construction.

The variety of rosettes’ types can be reduced to the following major types:

• Acanthus rosette – a rosette with petals in the form of radially diverging acanthus leaves alternating with arrows (similar to Ionic);

• Spiral rosette – refers to ancient Scandinavian solar symbols;

• Lunula rosette – or ‘lunula’, composed of two crescent moons;

• Vortex rosette – circular in shape, with spiral lines radiating from the centre, creating an optical illusion of rotation;

• Umbrella rosette – elliptical in shape with diverging rays.

Formalized floral motifs are often carved in stone or wood to create decorative patterns for architecture and furniture, as well as in metalworking, jewellery and applied arts to form decorative borders or at the junction of two materials. Rosettes were used for official military awards. They are also found on modern civilian clothing and are often used as decorative accents at political or sporting events. Rosettes sometimes adorn musical instruments, for example, they are located around the perimeter of the sound holes of guitars. Thus, the term ‘rosette’ carries a meaning that is rooted in the deep history of humanity and its artistic expression. For centuries, decorative elements in the form of blossoming flowers have remained a symbol of the pursuit of beauty and harmony in architecture and art. Despite the term becoming outdated, rosettes can still be found in modern interior design, serving as a reminder of the rich heritage and traditions of artistic decoration.

The museum Collection sections – ‘Enamel’, ‘Art Glass and Ceramics’, ‘Metal Artworks’, ‘Clocks and Objects with Movement’, ‘Snuffboxes and Cigarette Cases’, and ‘Jewellery and Accessories’ feature the entire range of rosettes mentioned in the overview article.

On the cover: Decorative serving plate. Imperial Stroganov College. Russian Empire, Moscow. Last quarter of the 19^th century.