emerge. Some varied only slightly from others, while others were noticeably distinct. In the middle of the 18th century, more and more individuals became painters and carvers. Due to this, rosemaling styles boomed to included even more unique forms. Rose-painters also began to initial their work as a way to identify the pieces they created. Through this, historians have been more easily able to gauge how many pieces certain artists have done, and even identify dynasties of painters through family relation. Rosemaling's popularity, however, declined by the mid-19th century. Rosemaling designs use "C" and "S" shaped brushstrokes that feature scroll and flowing lines, floral designs, and both subtle and vibrant colors. Script lettering, scenes, animal and human figures may also be included. For instance, when Norway was still ruled by the Danes, some artists would create rose-paintings of the Danish King and Queen or of Danish warriors. Artists who specialized in rosemaling often came from poorer classes in the countryside. They would travel from county to county painting churches, homes and furnishings for a commission of either money or merely room and board. Thus rosemaling was carried over the mountains and toward Norway's western coast. Once farther away from the influence of the painters' guild, these artists tried new ideas and motifs. Rosemaling became widespread as amateur artists in rural areas often imitated this folk art. Soon, strong regional styles developed, and today the three main styles are Telemark, Hallingdal and Rogaland, named after the regions in which each originated. Rosemaling is, in a sense, the two-dimensional counterpart of acanthus carving, since it is clear that the C and S curves in rosemaling take their inspiration from the acanthus carvings of Baroque and Rococo art and the acanthus carvings in the rural churches (for example the altar reredoses and pulpits) and homes (for example cupboards) were painted in the same bright colors as used in rosemaling. While in the cities these acanthus carvings were generally gilded, the rural artisans did not have ready access to gold leaf as their urban counterparts and so painted their carvings in the bright colors whose popularity in rural communities is seen also in the traditional Norwegian rural dress, the bunad. Like rosemaling, acanthus carving has had a cultural revival in recent times as both a means of interior design (for example, on furniture, picture frames, and door and window frames) and as a personal