moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer's ornaments for decorating empty spaces on the page. In this field the technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there. Small motifs in this style have continued to be used by conservative book designers up to the present day. According to Harold Osborne, in France, the "characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars". Apparently starting in embroidery, it then appears in garden design before being used in Northern Mannerist painted decorative schemes "with a central medallion combined with acanthus and other forms" by Simon Vouet and then Charles Lebrun who used "scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette." More exuberant arabesque designs by Jean Bérain the Elder are an early "intimation" of the Rococo, which was to take the arabesque into three dimensions in reliefs. The use of "arabesque" as an English noun first appears, in relation to painting, in William Beckford's novel Vathek in 1786. Arabesque is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: "Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art", so contradicting the definition of 1888 still found in the Oxford English Dictionary: "A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque."