Palmette (from the French “palmette”) is a classic decorative ornamental motif in the form of a stylised fan-shaped palm leaf. It is one of the oldest and most versatile decorative elements in art, which has been in continuous use from ancient times to the present day. The main feature of the palmette is its symmetrical shape, consisting of a series of identical feathery elements (usually an odd number: 5, 7, 9) radiating from the central axis and curved outwards.

It is believed that the palmette motif originated in Egypt. There were different types of Egyptian palmettes – both simple, with a single flower, and with the rising sun presented in the motif.

The palm tree was believed to be associated with life and death, physical and spiritual rebirth, symbolising the union of Earth and Sun. From Egypt, the image spread to the island of Crete, Mesopotamia and Persia. In Mesopotamia, there were special palmettes symbolising the sun character of the goddess Ishtar. The petals of the ornament resembled rays ending in dots – stars. Greek ornamentation drew on features of Egyptian, Phoenician and Assyrian ornamentation, but everything that was borrowed, was reinterpreted and changed in its own way. The resulting ornamentation was original. Its main qualities were lightness and harmony, with symbolic content subordinated. In ancient Greek art, palmettes were used as finials on tombstones and pediments, as well as decorations on cornices. In the 4^th century BC, variations of palmettes with curved leaf tips appeared, which were called ‘flame palmettes’. Considering the palm leaf too bulky, Greek craftsmen stylised the ornament and added curls resembling grape tendrils. As a result, the oriental palmette took on a graceful appearance in Greece and occupied a place of honour among other traditional ornaments, second only to the meander.

Painted and sculpted ornaments represent the same motifs, but different methods of depicting them always result in different forms.

In ancient, classical, and neoclassical architecture, relief decorative elements were used to fill sculptural niches, arched tympanums, openwork gate grilles, and railings for bridges or balconies. With the advent of the Baroque and Rococo styles, palmettes became lush, with lots of curls.

Many heraldic symbols are also assoc geometrised iris flower on the coat of arms of Florence and the fleur-de-lys of the French Bourbon dynasty. Ancient versions of the ornament were associated with sun worship, and in the Middle Ages, such heraldic elements began to symbolise the divine nature of European monarchs.

The palmette style has undergone many transformations throughout its history, but the element has not lost its relevance today. The palmette is a universal element that can be found in a wide variety of spheres. In architecture, palmettes are found in the decoration of buildings’ facades, friezes, cornices, and column capitals. In interiors, decorative mouldings are ornament ceilings, walls, and around door and window openings. In furniture making, it can be used for inlay and carving on cabinets, chairs, and tables (especially in the Classicism and Empire styles). In decorative and applied arts, it is implemented in manufacturing ceramics and porcelain (painting vases, plates, and tableware sets). In manufacturing textiles and wallpaper, ornamental patterns are applied to fabrics and wallpaper in the Classical style. In jewellery, palmette serves as a pattern element, especially in the Neoclassical style. In book graphics and heraldry, the palmette was used as a decorative element in engravings. It often decorated  ‘initial’ (‘initialis’) – the first letter of a book, chapter or separate paragraph, enlarged in size. Occasionally, the palmette appears in coats of arms as a symbol of victory and immortality. Thus, the palmette is not just a ‘pattern,’ but an important historical and cultural artefact that has carried the aesthetic ideals of symmetry, order, and beauty through the millennia.
Оne can say with certainty that palmettes are found in virtually every section of the museum Сollection exposition.

On the cover:
Shot glass. A.F. Petrov workshop, Grachev firm. Russian Empire, St. Petersburg. Last quarter of the 19^th century

Illustration:
Shallow vase for sweets. Fabergé firm. Russian Empire, Moscow. 1908-1917
Musical table clock No 4261 “Offenbach” with metal disk, winding key and clamping washer. Germany, Leipzig. 1890-1900
Singing bird snuffbox. Fréres Rochat. Switzerland. Circa 1820