tipos de ornamentación

Ornamentation in Frame Design

In Search of Elementals

Presented by

P F MP ICTURE FRAMING MAGAZ INE


Elias Ashmole, 1683,painting by John Riley,frame by Grinling Gibbons,at the Ashmolian Museum,Oxford, England. (Showncourtesy of the University ofOxford.)

This frame was first carvedin limewood (also calledlinden) with ornamentationbased on architectonicforms of contemporary wallpaneling, but it was notgilded until 47 years later.The woodcarving was firstso beautifully rendered inthis light colored, tightgrained wood, that it wasnot “clogged” up withgilding preparations untillater when it had turneddark from age. Above the central cartouchecontaining the family crest isa figure of Mercury, symbol-izing the constant activity ofthe human intellect,supported by the mytholog-ical twins Castor and Pollux.The drapery elegantlycarved on the sides recallsthe sitter’s own velvetclothing and curly wiggedhair “enframing” Ashmole’spiercing look, facing thefuture.

by William B. Adair

rnamentation in Frame Design: In Search of ElementalsO


Photos on cover shown courtesy of William Adairand Gold Leaf Studios.

No matter what our profession, we cannot truly grasp knowl-edge unless we also add to it—otherwise, creativity and intel-lectual growth will stagnate. This is especially true with regardto the design of picture frames. An understanding of thehistory of architectural ornaments—their origins, the contextof their use, and the methods used to create them—is essentialto our knowledge of fine period frames.

Frame designers must know the relationship of each orna-ment to another, which ornaments are appropriate to thevarious stylistic periods, and how each ornament should bepositioned on the frame’s profile. Framers who work withperiod frames must also understand how the use of variousornaments has come to define certain stylistic periods, and in

the process, learn to recognize well-designed frames. It is alsoimportant to recognize how ornament is created: Was itcarved into the frame, applied as composition, or embossedinto the surface of the profile?

Acquiring a strong vocabulary in frame ornamentationbuilds credibility with customers and industry peers; recog-nizing a well-designed and historically accurate period framehelps build a better frame selection for your business andbolster greater confidence at the design counter. A familiaritywith historical ornament can help you identify period frames,for example, and that knowledge will, in turn, help you tosuggest suitable and period-appropriate frames for variousartworks.

Cover Plates from R. Ackerman’s book, first published in 1819, A Selection of Ornaments for the Use of Sculptors, Painter’s Carver’s and Modellers. In itsday, this publication influenced all aspects of interior design, especially picture frames. (Shown courtesy of the International Institute for Frame Study.)

Introduction

February 2004

A History of OrnamentationIn the past, the embellishment of picture frames of great merit was largelyderived from architectural patterns found in classical antiquity. R. Ackerman’sbook, A Selection of Ornaments for the Use of Sculptors, Painters Carvers andModellers, published in 1819, was the kind of publication that influenced allaspects of interior design, including that of picture frames.

However, there are many other sources of inspiration. Many designers offrames are motivated by conventional, pre-established patterns. Standard orna-ments, such as the acanthus leaf, anthemion (also called honeysuckle), egg anddart, laurel leaf, lambs tongue, lotus leaf, and others, are all repeatedthroughout the centuries, in a profusion of perambulations.

Such historically proven ornamentation can still fail, however. Most failuresare evident when the ornament is out of proportion to the moulding

profile. In some instances, the placement of the ornament andrepeating patterns is ill-conceived—based on the whim of

the designer rather than sound principles of design. As welook at these frames, a disquieting sense of impropriety

becomes evident to ourselves (and even to ourcustomers), although we usually don’t understandwhy.

However, in a frame created by a designer whofollowed established historic examples of design,such as The Golden Mean of ratio, proportion, andbalance, the arrangement of seemingly disparatedesign elements develops into a symbiotic harmony,

producing a pleasing result and cohesiveness of design.We are often drawn instinctively to such designs, and

greater study can help us understand why. As English architect-designer Owen Jones (1806-1899) declared

in his seminal treatise, The Grammar of Ornament, “True beauty results fromthat repose which the mind feels when the eye, the intellect, and the affecta-tions, are satisfied from the absence of any want.” (Just as framers often haveclients who say, “I don’t know what I’m looking for, but I’ll tell you when I seeit.”) Jones’s strong conviction was that historical styles should be used for inspi-ration rather than imitation.

Sources of Good DesignIt is not easy to define what makes a good and enduring design. Learning torecognize it evolves from an examination of historical examples and leads to ananalysis of the shape or profile of ornament in relation to its size and placementupon the surface of the moulding. Ornament design should be based on ageometrical construction, and this construction should be appropriately deco-rated—decoration should never be purposely constructed.

In the classic treatise, Ten Books on Architecture, the Roman architect


The top rail of thisframe (shown vertically) features aguilloche band andscrolling acanthusleafs surmounted bya shell.

mental leaves surmounted by volutes, seem tobear an analogy to their dispositions...

Vitruvius’ virtuoso books remind us thata good framer possesses historical knowledgeof frame styles and ornamentation as they areappropriate, respectively, to the styles ofpainting. Eventually, the designer mustknow what works and what fails, and be ableto articulate the reasons why.

Learning the Language of OrnamentWhen it comes to trying to identify variousframe styles the amount of overlapping andconflicting information makes the taskformidable. Armed with a little practice,experience in making sketches of profiledrawings, and a firm understanding of thehistorically correct ornaments that areapplied to them—their names, origins, andevolutions—one slowly develops an eye forthe nuances and subtleties that emerge fromthe vast labyrinth of design information.

Eventually, this “design vocabulary” ofelementals leads the framer to develop“sentences,” “paragraphs,” and eventually a“novel” worthy, at best, of a place of honorin the mythological “Hall of Frames” onMount Olympus. (Or at least a new framedesign that won’t be rejected by yourdiscerning clients.) ■

Marcus Vitruvius Polio (90-20 B.C.E.),known simply as “Vitruvius,” said it best:“Good architectural design is composed ofthree important qualities: strength, utility,and aesthetic effect.” (In his 1624 translation,Sir Henry Wooton (1568-1639) quaintlychanged this to “Firmness, Commodity, andDelight.”) The rule applies to framemaking asmuch as it does to architecture.

Since the decorative arts arise from archi-tecture, it stands to reason that the same stan-dards apply to the design and construction ofpicture frames. A frame must be fabricatedfrom well-seasoned and stable wood, withcorner joints that are appropriate for thewidth and shape of the moulding. A framemust be fabricated of quality materials so thatit will be equal, if not superior, to the qualityof the painting; thus, it will show thepainting to its best advantage. Lastly, a framemust be aesthetically pleasing in terms of itscoloration, texture, and variety of sheens.Color is used to bolster the advancement orrecession of forms and to differentiateelements.

Vitruvius’ principle of consistency is alsoan important concept that applies to framing.For example, he writes:

....temples of the Doric order are erected toMinerva, Mars, and Hercules, on account ofwhose valour their temples should be of mascu-line proportions, and without delicate orna-ment. The character of the Corinthian orderseems more appropriate to Venus, Flora, Proser-pine, and Nymphs of Fountains; because itsslenderness, elegance and richness, and its orna-

William B. Adair received his B.F.A. in Studio Art from the University of Maryland in 1972. For the next 10 years he worked for theSmithsonian Institution’s National Portrait Gallery as a museum conservator specializing in the treatment of picture frames. In 1982 heformed his own company, Gold Leaf Studios, for the making of frames and the conservation of gilded antiques. Over the years his clientshave included the U.S. Department of State and the National Park Service. He is the founder of the International Institute for FrameStudy, a non-profit archive dedicated to collecting and disseminating information on the history of frames. He can be reached via e-mail [email protected].

February 2004

From top: acanthus leaf, guilloche, leaf andberry, and shell ornamentation designs.


BABYLONIAN

Arched portal, Babylonian-Assyrian, c. 2000B.C. from Koyunjik, showing crysanthemumflower in arch and cornice with lotus flower andbud in frieze above arch .

Babylonian corner: a Babylonian-Assyrian floorornament, c. 2000 B.C. from Koyunjik, showingcrysanthemum flower in border and center-pointwith radiating buds.

Nebuchadnezzer Babylon: Babylonian, c. 2600 B.C.; a wallmural from the court in the palace of King Nebuchadnezzer I,c. 2600 B.C. The ornamentation—a double-anthemionfrieze—is executed on glazed colored bricks.

Nimroud frieze, a mural decoration made of burned, glazedstone, showing a stylized palmette with pinecone and closedlotus-bud with chevron decoration, c. 800 B.C.

From an Assyrian embroideryillustrating a chrysanthemumflower and Pegasus, a wingedhorse, c. 700 B.C.

Winged steer withhuman head, now inthe Louvre in Paris,originally from thepalace of Sardana-palus, c. 1000 B.C.

From Koyunjik, an alternating lotus flower and bud with chrysanthemum flower below, c. 2000 B.C.

February 2004

Arched pediment from the modernkingdom, Thebes, c. 1600 B.C, with stylizedvegetal forms.

Date leaf on the capital of a column atPhilae, with space above neck-band. Fromthe later Egyptian Kingdom, c. 1500 B.C.

Geometric borders: chevrons and stylizedleaves for border decorations in a room, c. 600 B.C.

Lotus and egg: an open lotus flower alter-nating with egg pattern, c. 600 B.C. Aprecursor for the egg and dart design seen inclassic Greek ornamentation.

Lotus and tongue: This lotus flower andalternating tongue pattern, c. 600 B.C., is aprecursor for the later Greek classical lamb’stongue ornamentation.

Lotus: an alternating closed and open lotusflower and bud, c. 600 B.C., with geometricborder design at the top.

Papyrus on a column with closed capitalfrom Amenemhet, near Hawara, LaterKingdom.

Stylized lotus: a frieze of flowers and buds,from Amenophis IV in Tell-el-Amanra, LaterKingdom, c. 660 B.C. An inspiration for theArt-Deco designs of the 1930s.

Aedicula frame taken from a breast-plate ofgold with encrusted enamel, bearing thename of Ramses II; Egyptian MiddleKingdom, c. 600 B.C.

Palm leaf on the capital of a column inBersche, dating from the Middle Kingdom,c. 1500 B.C. This is the precursor for muchGreek ornamentation, now known as a waterleaf.

EGYPTIAN


Anthemion and lotus: a mosaic from thefloor of stairs in the palace of Artaxerxes, c. 600 B.C.; showing stylized lotus leaf andalternating anthemion, surmounted by ageometric pattern.

Artaxerxes border: from a floor from thestairs in the palace of Artaxerxes, c. 600 B.C.A stylized C-scroll surrounded by a chrysan-themum flower border.

Double Anthemion on a Persian wall deco-ration of glazed terra-cotta, using triangles asa bordering device for the double anthemionfrieze.

Lion frieze: now in the Louvre, c. 300 B.C.A lion figure is often used as a decorativepattern in Persian ornament.

From Naksche: Bas-reliefs from the gravesof Naksche Roustem, c. 500 B.C. This is thetip of a volute that forms a running pattern.

From Persepolis: a column in the hall ofXerxes, c. 500 B.C. Above the double bulls isan alternating lotus flower and anthemion,surmounted by dentil work and fluted ribs.

From Persepolis, a column in the hall ofXerxes, c. 500 B.C. Above the double bulls isa stylized lotus with alternating chrysan-themum, surmounted by dentil work and alion frieze.

Tongue and dart from the bas-reliefs atthe graves of Naksche Roustem, c. 500B.C; showing rounded tongue ornamentinterspersed with darts, surmounted bybead and reel.

Winged bull from a bas-relief at Persepolis,c. 300 B.C.

Winged lion: a bas-relief at Perse-polis, c. 300 B.C. Winged figures areclassic ornamentation from Persianiconography.

PERSIAN

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Bhagovati frieze:moulding from thetemple of Bhago-vati with scrollingleaf and vine, inter-twined withanimals, c. secondcentury, B.C.

A cornice from thetemple in Parasur-names’vara showing afern ornamentation,c. second century,B.C.

INDIAN

A Bhuvanes’war frieze showing a griffinwith stylized leaf ornamentation, resting on abead ornament; from a bas-relief fromBharhut, c. second century, B.C.

Aedicula zoomorphic: a statue of theprovince from a niche in the temple ofBhuvanes’war. The image of an elephantassuming human form is a typical imagefrom India.

A window from the temple of Muktes’wara.Various scrolling leaves and flower pattern, c.second century, B.C.


Alhambra corner: Decorative corner fromthe Alhambra in Granada, 9th century, A.D.;a corner ornament with interlocking stylizedfloral patterns that resemble calligraphy.

Alhambra corner: decorative corner fromthe Alhambra in Granada, c. 9th century,A.D.

Arabic ornamentation on a decorative detailed frieze from the Alhambra, c. 11thcentury, A.D.

Moorish corner: interlaced ornaments for acorner design, c. 11th century, A.D.; foundin the Alhambra in the Court of the Lions.

A Moorish frieze, or a running pattern of interlaced ornaments, c. 11thcentury, A.D.; found in the Alhambra in the Court of the Lions.

ARABIC / MOORISH

An Arabic decorative frieze from the Alhambra, c. 11th century, A.D. with analternating anthemion design.

February 2004

Celtic interlocking design: the chief characteristic of Celtic ornament consists in theabsence of foliage or other vegetal ornament. The extreme intricacy and interlockinggeometric pattern and ribbonwork is composed of knots and tails in an intertwiningendless pattern.

A Celtic Anglo-Saxon corner from a bookat the British Museum called The GoldenGospels, produced in the 9th century, A.D.This style of ornament was fully developedbefore the end of the 7th century, possiblybeing influenced by Irish missionaries travel-ling to the Holy Land and obtaining ideasand principles of design.

A Celtic corner from The GoldenGospels, 9th century, A.D. Here, inter-locking patterns are used as a cornerdesign.

Celtic roundel corner from The GoldenGospels, 9th century, A.D.

Celtic knot that forms a corner blockdesign from the Book of Kells, c. 800 A.D.

Celtic panel: a frieze patternfrom the Book of Kells, c. 800 A.D.

CELTIC


Ogee from Holi-carnassus: a lamb’stongue and beadand reel placed on ashaped ogeemoulding, c. 350 B.C.

Egg and dart: an ogee from amausoleum at Halicarnassus, c. 350 B.C.

Lamb’s Tongue ona painted ogee froman architecturaltrim; fromTheseum in Athens,c. 600 B.C. Thesmaller lambs’tongue is often seenon Neoclassicalornamentation andframes as well.

Calves’ tongueon a painted ogeefrom an architec-tural trim. Calves’tongue is a largerversion of alamb’s tongue.

Wave pattern: an example c.8th century, B.C. Greek wavepatterns are seen on manyframe designs along the siteedge, separating the paintingfrom the rest of the frame.

GREEK

Mural frieze c. 8th century,B.C. This ornament is a styl-ized wave pattern with inter-locking seed pod patternsflanked by chrysanthemumflower.

Leaf and dart: an ogee, c. 4thcentury B.C. This pointed leafis also typical for frame orna-mentation of Neoclassicaldesigns. It is often referred to asa water leaf.

February 2004

A Greek vase from a design in Athensin the 6th century B.C. Attic black-colored vessels often contain ornamentswhich reflect the architectural details.The ornaments on this design are proto-typical of frame designs in the Renais-sance. There is dentil work at the base,surmounted by a pattern based on adouble-guilloche with an anthemion inthe center, most likely derived frompatterns of weaving from antquity.Above that is a chrysanthemum, flankedby anthemion, stylized egg-and-dart,and Greek key.

Anthemion andacanthus: a friezeof an alternatingacanthus andanthemion leaf, c. 3rd century, B.C.

Anthemion withbead and reel onan ogee from amausoleum atHalicarnassus, c.350 B.C.

Bead and reel shownon an ancient seriesof running ornamentsthat consists of beadand reel; from classicGreek architecture.

Greek key example fromthe Isle of Delos, used asa pattern for Greek vasesand friezes in architec-tural ornamentation.

GREEK


Acanthus with scrolling vine androsette, punctuated with zoomor-phic forms in an exaggerated,overly-developed style; from anarchitectural fragment, c. firstcentury A.D.

Fragment of a frieze in high relief from the Villa Aldobrandiniin Rome, c. 1600 A.D.

Anthemion and acanthus from the Villa Medici in Florence, c.16th century, A.D. Anthemion is on the outer edge on the end,with acanthus in a running pattern in the center.

Figures with acanthus: a griffin and a puti (cherub) are flankedby acanthus leaves, c. 16th century, A.D.

Roman frieze with two puti flanked with acanthus leaves, basedon a drawing by a 17th century Italian artist. Interpreted asRomulus and Remus with a wolf-head centerpoint.

A fragment of an antique frieze found in Tivoli shows a basketof fruit terminated with a mask, flanked by a profile of a lionwith a centerpoint of an urn with fruit.

Trophy frieze shown in an 18th century drawing from anantique fragment by Luigi Cantini (1762-1840). Trophy frieze shown in an 18th century drawing from an

antique fragment by Luigi Cantini (1762-1840).

ROMAN

February 2004

Gothic corner showing a stylizedpalmette. Another example of LateGothic ornament in flatwood relief fromthe gallery ballustrade in a house in theHaupmarkt, Nuremburg.

Gothic corner showing a stylizedpalmette. An example of Late Gothicornament in flatwood relief in the galleryballustrade in a house in the Hauptmarkt,Nuremburg.

Gothic corner showing a stylized palmette.One of the Late Gothic ornaments in flat-wood relief in the gallery ballustrade in ahouse in the Hauptmarkt, Nuremburg.

Gothic panel from a stone gallery in the choir of the cloister church inBlaubeuren.

Gothic panel from a stone gallery in the choir of the cloister church inBlaubeuren.

Gothic rosette: this is example is one of the woodenrosettes from the Rose Chamber in the prince’s house inthe Coburg Castle, c. 11th century, A.D.

GOTHIC


Fretwork example: this design is used as a panelling device for sgraffitowork in the frieze area of a frame. Most Renaissance ornament is basedon designs from classical antiquity—examples were easily found in Italyas sources for inspiration.

Gadroon: The chief characteristic of a gadroon, or knull, is that it isused as a bordering device sandwiched between other ornamentation.

Guilloche: defined as an interlocking pattern with a rosette in thecenter, flanked by stylized leaves.

Laurel leaf and berry: the laurel leaf, which symbolizes everlasting life,was often used in the Renaissance in frame design.

Stick and ribbon: this is a twisted ribbon with a stick running throughthe center, often seen in architectural ornamentation in conjunctionwith other patterns such as lamb’s tongue.

RENAISSANCE

February 2004

A water leaf site edge with an anthemion corner design; the cabledfluting on the panel terminates in a tongue and dart ornamenta-tion.

Acanthus and acorn: stylized acanthus with alternating acorn anddart.

Acanthus and anthemion: acanthus leaf with an alternatinganthemion terminating in an acanthus leaf corner.

Acorn and leaf: an undulating spray of oak leaves interspersed withacorns.

Acorn and acanthus leaf: an acanthus leaf with alternating spraysof three acorns set into an acanthus bud.

Stylized anthemion with alternating rosette.

Grape and leaf: an undulating vine of grape leaves and grapes.

NEO-CLASSICAL

A palmette design alternating with lotus husk, terminating in tworosettes.

Thistle: an undulating spray of thistle flowers, buds, and leaves.


Corner ornament: astylized, interlockingpattern of heart-shapedmorning glories.

Heart-shaped morning glories alternating with morningglory flowers in an interlocking pattern.

Muriel Moller drawing with stylized anemone flower andleaf with ribbed background.

Stylized tree panel withlarge, coin-shaped leavesterminating in a Celtic-inspired interlocking scrollroot system.

Stylized oak leafembellished with seedpods.

A sunflower-likerosette with stylized,interlocking ivy leafand vine.

ART NOUVEAU

Muriel Moller carving based on the anemone flower designseen above.

February 2004

American Gothic Revivial frame, c. 1850.

Italian Renaissance frame, late 16th century.

Italian Renaissance frame, 16th century.

American Whistler-style frame, c. 1880-1900.

American Federal style frame witha twisted rope design, c. 1810.

American Impressionist style frame, c. 1900.

FRAMES AND PROFILES

Typical French Louis XIIIframe (left) and profile.

Typical French Louis XIVframe (left) and profile.

Typical French Louis XVframe (left) and profile.

Typical French Regenceframe (left) and profile.

FRAMES AND PROFILES


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