THERE IS A REASON that customers in a picture framing store become agitated or confused when confronted with the “wall of a thousand samples” – lack of knowledge. This article will attempt to shed some light on the subject.
First to be considered when selecting a frame is whether you are framing a decorative item or a piece of fine art. The leeway for “play” and experimentation is greater with a decorative piece because you have decided that that is its purpose and, yes, it can match the sofa or drapes as the piece is part of an overall design. Fine art, however, demands framing for itself, preferably within the context of the period in which it was created.
For the past 25 years there has been a movement to retain period frames with period art. This pertains to art whether it was produced in 1540 or 1940, as both reflect the design and sensibility of the period. The basic designs which constitute the framing repertoire were developed during the Italian Renaissance (14th century to about 1580).
The first frame design was the PLATE, which was simply four pieces of flat wood cut and joined to make a frame. Later, decorations were added in the corners of the frame, usually rosettes or a pattern of incised lines.
The next development was the CASSETTA, which employed the “plate” as a panel with the addition of a “lip” and a “cap” moulding. Ornamentation was then distributed over the panel, lip, cap or over the entire frame surface.
The BOLECTION, or reverse/receding frame was the third shape developed. This moulding completely covered the join between the frame and panel. As with the preceeding designs it was later decorated.
The last important frame shape was the profile known as the CARLO MARATTA, or “scoop” frame.
Despite the variations in ornamental decoration, these four shapes constitute the basis of framing design from the Renaissance to the present day. Either compressed or widened, with or without decoration, gilded or painted, if you take a moment to look at the frame surrounding works of art you will be able to identify these shapes. You can become familiar with the profiles so that you are no longer confused by the “wall of a thousand samples” because you will know that there are really only four.
