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PICTURE FRAMING MAGAZINE

Ornamentation
in Frame Design

In Search of Elementals
O rnamentation in Frame Design:
In Search of Elementals

by William B. Adair

Elias Ashmole, 1683,

painting by John Riley,
frame by Grinling Gibbons,
at the Ashmolian Museum,
Oxford, England. (Shown
courtesy of the University of
Oxford.)

This frame was first carved

in limewood (also called
linden) with ornamentation
based on architectonic
forms of contemporary wall
paneling, but it was not
gilded until 47 years later.
The woodcarving was first
so beautifully rendered in
this light colored, tight
grained wood, that it was
not “clogged” up with
gilding preparations until
later when it had turned
dark from age.
Above the central cartouche
containing the family crest is
a figure of Mercury, symbol-
izing the constant activity of
the human intellect,
supported by the mytholog-
ical twins Castor and Pollux.
The drapery elegantly
carved on the sides recalls
the sitter’s own velvet
clothing and curly wigged
hair “enframing” Ashmole’s
piercing look, facing the
future.

Photos on cover shown

courtesy of William Adair
and Gold Leaf Studios.

Ornamentation in Frame Design

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 its
day, this publication influenced all aspects of interior design, especially picture frames. (Shown courtesy of the International Institute for Frame Study.)

Introduction
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 regard
to the design of picture frames. An understanding of the
history of architectural ornaments—their origins, the context
of their use, and the methods used to create them—is essential
to our knowledge of fine period frames.
Frame designers must know the relationship of each orna-
ment to another, which ornaments are appropriate to the
various stylistic periods, and how each ornament should be
positioned on the frame’s profile. Framers who work with
period frames must also understand how the use of various
ornaments has come to define certain stylistic periods, and in
the process, learn to recognize well-designed frames. It is also
important to recognize how ornament is created: Was it
carved into the frame, applied as composition, or embossed
into the surface of the profile?
Acquiring a strong vocabulary in frame ornamentation
builds credibility with customers and industry peers; recog-
nizing a well-designed and historically accurate period frame
helps build a better frame selection for your business and
bolster greater confidence at the design counter. A familiarity
with historical ornament can help you identify period frames,
for example, and that knowledge will, in turn, help you to
suggest suitable and period-appropriate frames for various
artworks.

February 2004
 A History of Ornamentation
In the past, the embellishment of picture frames of great merit was largely
derived from architectural patterns found in classical antiquity. R. Ackerman’s
book, A Selection of Ornaments for the Use of Sculptors, Painters Carvers and
Modellers, published in 1819, was the kind of publication that influenced all
aspects of interior design, including that of picture frames.
However, there are many other sources of inspiration. Many designers of
frames are motivated by conventional, pre-established patterns. Standard orna-
ments, such as the acanthus leaf, anthemion (also called honeysuckle), egg and
dart, laurel leaf, lambs tongue, lotus leaf, and others, are all repeated
throughout the centuries, in a profusion of perambulations.
Such historically proven ornamentation can still fail, however. Most failures
are evident when the ornament is out of proportion to the moulding
profile. In some instances, the placement of the ornament and
repeating patterns is ill-conceived—based on the whim of
the designer rather than sound principles of design. As we
look at these frames, a disquieting sense of impropriety
becomes evident to ourselves (and even to our
customers), although we usually don’t understand
why.
However, in a frame created by a designer who
followed established historic examples of design,
such as The Golden Mean of ratio, proportion, and
balance, the arrangement of seemingly disparate
design 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 from
that 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 have
clients who say, “I don’t know what I’m looking for, but I’ll tell you when I see
it.”) Jones’s strong conviction was that historical styles should be used for inspi-
ration rather than imitation.

Sources of Good Design

It is not easy to define what makes a good and enduring design. Learning to
recognize it evolves from an examination of historical examples and leads to an
The top rail of this analysis of the shape or profile of ornament in relation to its size and placement
frame (shown
vertically) features a upon the surface of the moulding. Ornament design should be based on a
guilloche band and geometrical construction, and this construction should be appropriately deco-
scrolling acanthus
leafs surmounted by rated—decoration should never be purposely constructed.
a shell. In the classic treatise, Ten Books on Architecture, the Roman architect

Ornamentation in Frame Design

Marcus Vitruvius Polio (90-20 B.C.E.), mental leaves surmounted by volutes, seem to
known simply as “Vitruvius,” said it best: bear an analogy to their dispositions...
“Good architectural design is composed of
three important qualities: strength, utility, Vitruvius’ virtuoso books remind us that
and aesthetic effect.” (In his 1624 translation, a good framer possesses historical knowledge
Sir Henry Wooton (1568-1639) quaintly of frame styles and ornamentation as they are
changed this to “Firmness, Commodity, and appropriate, respectively, to the styles of
Delight.”) The rule applies to framemaking as painting. Eventually, the designer must
much as it does to architecture. know what works and what fails, and be able
Since the decorative arts arise from archi- to articulate the reasons why.
tecture, it stands to reason that the same stan-
dards apply to the design and construction of Learning the Language of Ornament
picture frames. A frame must be fabricated When it comes to trying to identify various
from well-seasoned and stable wood, with frame styles the amount of overlapping and
corner joints that are appropriate for the conflicting information makes the task
width and shape of the moulding. A frame formidable. Armed with a little practice,
must be fabricated of quality materials so that experience in making sketches of profile
it will be equal, if not superior, to the quality drawings, and a firm understanding of the
of the painting; thus, it will show the historically correct ornaments that are
painting to its best advantage. Lastly, a frame applied to them—their names, origins, and
must be aesthetically pleasing in terms of its evolutions—one slowly develops an eye for
coloration, texture, and variety of sheens. the nuances and subtleties that emerge from
Color is used to bolster the advancement or the vast labyrinth of design information.
recession of forms and to differentiate Eventually, this “design vocabulary” of
elements. elementals leads the framer to develop
Vitruvius’ principle of consistency is also “sentences,” “paragraphs,” and eventually a
an important concept that applies to framing. “novel” worthy, at best, of a place of honor
For example, he writes: in the mythological “Hall of Frames” on
Mount Olympus. (Or at least a new frame
....temples of the Doric order are erected to design that won’t be rejected by your
Minerva, Mars, and Hercules, on account of discerning clients.) ■
whose valour their temples should be of mascu-
line proportions, and without delicate orna-
ment. The character of the Corinthian order
seems more appropriate to Venus, Flora, Proser-
pine, and Nymphs of Fountains; because its
slenderness, elegance and richness, and its orna-
From top: acanthus leaf, guilloche, leaf and
berry, and shell ornamentation designs.

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 the
Smithsonian Institution’s National Portrait Gallery as a museum conservator specializing in the treatment of picture frames. In 1982 he
formed his own company, Gold Leaf Studios, for the making of frames and the conservation of gilded antiques. Over the years his clients
have included the U.S. Department of State and the National Park Service. He is the founder of the International Institute for Frame
Study, a non-profit archive dedicated to collecting and disseminating information on the history of frames. He can be reached via e-mail at
bill@goldleafstudios.com.

February 2004
 BABYLONIAN

Nebuchadnezzer Babylon: Babylonian, c. 2600 B.C.; a wall

mural from the court in the palace of King Nebuchadnezzer I,
c. 2600 B.C. The ornamentation—a double-anthemion
frieze—is executed on glazed colored bricks.

Arched portal, Babylonian-Assyrian, c. 2000

B.C. from Koyunjik, showing crysanthemum
flower in arch and cornice with lotus flower and
bud in frieze above arch .

From Koyunjik, an alternating lotus flower and bud with

chrysanthemum flower below, c. 2000 B.C.

Nimroud frieze, a mural decoration made of burned, glazed

Babylonian corner: a Babylonian-Assyrian floor
stone, showing a stylized palmette with pinecone and closed
ornament, c. 2000 B.C. from Koyunjik, showing
lotus-bud with chevron decoration, c. 800 B.C.
crysanthemum flower in border and center-point
with radiating buds.

Winged steer with

human head, now in
the Louvre in Paris,
originally from the
palace of Sardana-
palus, c. 1000 B.C.
From an Assyrian embroidery
illustrating a chrysanthemum
flower and Pegasus, a winged
horse, c. 700 B.C.

Ornamentation in Frame Design

 EGYPTIAN

Lotus: an alternating closed and open lotus

flower and bud, c. 600 B.C., with geometric
Date leaf on the capital of a column at border design at the top.
Philae, with space above neck-band. From
the later Egyptian Kingdom, c. 1500 B.C.

Geometric borders: chevrons and stylized

leaves for border decorations in a room,
c. 600 B.C.

Lotus and tongue: This lotus flower and

alternating tongue pattern, c. 600 B.C., is a
precursor for the later Greek classical lamb’s
tongue ornamentation.

Arched pediment from the modern

Palm leaf on the capital of a column in
Bersche, dating from the Middle Kingdom,
c. 1500 B.C. This is the precursor for much
Greek ornamentation, now known as a water
leaf.
kingdom, Thebes, c. 1600 B.C, with stylized
vegetal forms.
Lotus and egg: an open lotus flower alter-
nating with egg pattern, c. 600 B.C. A
precursor for the egg and dart design seen in
classic Greek ornamentation.

Papyrus on a column with closed capital
from Amenemhet, near Hawara, Later
Kingdom.
Stylized lotus: a frieze of flowers and buds,
from Amenophis IV in Tell-el-Amanra, Later
Kingdom, c. 660 B.C. An inspiration for the
Art-Deco designs of the 1930s.
Aedicula frame taken from a breast-plate of
gold with encrusted enamel, bearing the
name of Ramses II; Egyptian Middle
Kingdom, c. 600 B.C.
February 2004

Anthemion and lotus: a mosaic from the
floor of stairs in the palace of Artaxerxes,
c. 600 B.C.; showing stylized lotus leaf and
alternating anthemion, surmounted by a
geometric pattern.
From Persepolis, a column in the hall of
Xerxes, c. 500 B.C. Above the double bulls is
a stylized lotus with alternating chrysan-
themum, surmounted by dentil work and a
lion frieze.
Lion frieze: now in the Louvre, c. 300 B.C.
A lion figure is often used as a decorative
pattern in Persian ornament.
Ornamentation in Frame Design
PERSIAN
Artaxerxes border: from a floor from the Double Anthemion on a Persian wall deco-
stairs in the palace of Artaxerxes, c. 600 B.C. ration of glazed terra-cotta, using triangles as
A stylized C-scroll surrounded by a chrysan- a bordering device for the double anthemion
themum flower border. frieze.
From Naksche: Bas-reliefs from the graves
of Naksche Roustem, c. 500 B.C. This is the
tip of a volute that forms a running pattern.
From Persepolis: a column in the hall of
Xerxes, c. 500 B.C. Above the double bulls is
an alternating lotus flower and anthemion,
surmounted by dentil work and fluted ribs.
Tongue and dart from the bas-reliefs at
the graves of Naksche Roustem, c. 500
B.C; showing rounded tongue ornament
interspersed with darts, surmounted by
bead and reel.
Winged lion: a bas-relief at Perse-
polis, c. 300 B.C. Winged figures are
Winged bull from a bas-relief at Persepolis,
classic ornamentation from Persian
c. 300 B.C.
iconography.
 INDIAN

Bhagovati frieze:
moulding from the
temple of Bhago-
vati with scrolling
leaf and vine, inter-
twined with
animals, c. second
century, B.C.

A window from the temple of Muktes’wara. Aedicula zoomorphic: a statue of the A Bhuvanes’war frieze showing a griffin
Various scrolling leaves and flower pattern, c. province from a niche in the temple of with stylized leaf ornamentation, resting on a
second century, B.C. Bhuvanes’war. The image of an elephant bead ornament; from a bas-relief from
assuming human form is a typical image Bharhut, c. second century, B.C.
from India.

A cornice from the

temple in Parasur-
names’vara showing a
fern ornamentation,
c. second century,
B.C.

February 2004
 ARABIC / MOORISH

Arabic ornamentation on a decorative detailed frieze from the Alhambra, c. 11th Moorish corner: interlaced ornaments for a
century, A.D. corner design, c. 11th century, A.D.; found
in the Alhambra in the Court of the Lions.

Alhambra corner: decorative corner from A Moorish frieze, or a running pattern of interlaced ornaments, c. 11th
the Alhambra in Granada, c. 9th century, century, A.D.; found in the Alhambra in the Court of the Lions.
A.D.

Alhambra corner: Decorative corner from

the Alhambra in Granada, 9th century, A.D.; An Arabic decorative frieze from the Alhambra, c. 11th century, A.D. with an
a corner ornament with interlocking stylized alternating anthemion design.
floral patterns that resemble calligraphy.

Ornamentation in Frame Design

 CELTIC

Celtic interlocking design: the chief characteristic of Celtic ornament consists in the
absence of foliage or other vegetal ornament. The extreme intricacy and interlocking
A Celtic Anglo-Saxon corner from a book
geometric pattern and ribbonwork is composed of knots and tails in an intertwining
at the British Museum called The Golden
endless pattern.
Gospels, produced in the 9th century, A.D.
This style of ornament was fully developed
before the end of the 7th century, possibly
being influenced by Irish missionaries travel-
ling to the Holy Land and obtaining ideas
and principles of design.

A Celtic corner from The Golden Celtic knot that forms a corner block
Celtic roundel corner from The Golden Gospels, 9th century, A.D. Here, inter- design from the Book of Kells,
Gospels, 9th century, A.D. locking patterns are used as a corner c. 800 A.D.
design.

Celtic panel: a frieze pattern

from the Book of Kells,
c. 800 A.D.

February 2004
 GREEK

Ogee from Holi-

carnassus: a lamb’s
tongue and bead
and reel placed on a
shaped ogee
moulding,
c. 350 B.C.

Leaf and dart: an ogee, c. 4th
century B.C. This pointed leaf
is also typical for frame orna-
mentation of Neoclassical
designs. It is often referred to as
a water leaf.
Calves’ tongue
on a painted ogee
from an architec-
tural trim. Calves’
Wave pattern: an example c. tongue is a larger
version of a
8th century, B.C. Greek wave
lamb’s tongue.
patterns are seen on many
frame designs along the site
edge, separating the painting
from the rest of the frame.

Lamb’s Tongue on
a painted ogee from
an architectural
trim; from
Theseum in Athens,
c. 600 B.C. The
smaller lambs’
tongue is often seen
on Neoclassical
ornamentation and
frames as well.
Mural frieze c. 8th century,
B.C. This ornament is a styl-
Egg and dart: an ogee from a ized wave pattern with inter-
mausoleum at Halicarnassus, locking seed pod patterns
c. 350 B.C. flanked by chrysanthemum
flower.
Ornamentation in Frame Design
 GREEK

A Greek vase from a design in Athens

Anthemion with in the 6th century B.C. Attic black-
bead and reel on colored vessels often contain ornaments
an ogee from a which reflect the architectural details.
mausoleum at The ornaments on this design are proto-
Halicarnassus, c. typical of frame designs in the Renais-
350 B.C. sance. There is dentil work at the base,
surmounted by a pattern based on a
double-guilloche with an anthemion in
the center, most likely derived from
patterns of weaving from antquity.
Above that is a chrysanthemum, flanked
by anthemion, stylized egg-and-dart,
and Greek key.

Bead and reel shown

on an ancient series
of running ornaments
that consists of bead
and reel; from classic
Greek architecture.

Anthemion and Greek key example from

acanthus: a frieze the Isle of Delos, used as
of an alternating a pattern for Greek vases
acanthus and and friezes in architec-
anthemion leaf, tural ornamentation.
c. 3rd century, B.C.

February 2004
 ROMAN

Fragment of a frieze in high relief from the Villa Aldobrandini Anthemion and acanthus from the Villa Medici in Florence, c.
in Rome, c. 1600 A.D. 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 flanked

A fragment of an antique frieze found in Tivoli shows a basket
by acanthus leaves, c. 16th century, A.D.
of fruit terminated with a mask, flanked by a profile of a lion
with a centerpoint of an urn with fruit.

Trophy frieze shown in an 18th century drawing from an

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

Acanthus with scrolling vine and

rosette, punctuated with zoomor-
phic forms in an exaggerated,
overly-developed style; from an
architectural fragment, c. first
century A.D.
Roman frieze with two puti flanked with acanthus leaves, based
on a drawing by a 17th century Italian artist. Interpreted as
Romulus and Remus with a wolf-head centerpoint.

Ornamentation in Frame Design

 GOTHIC

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

Gothic rosette: this is example is one of the wooden

rosettes from the Rose Chamber in the prince’s house in
the Coburg Castle, c. 11th century, A.D.

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

Gothic corner showing a stylized palmette.
One of the Late Gothic ornaments in flat-
wood relief in the gallery ballustrade in a
house in the Hauptmarkt, Nuremburg.
Gothic corner showing a stylized
palmette. Another example of Late
Gothic ornament in flatwood relief from
the gallery ballustrade in a house in the
Haupmarkt, Nuremburg.
Gothic corner showing a stylized
palmette. An example of Late Gothic
ornament in flatwood relief in the gallery
ballustrade in a house in the Hauptmarkt,
Nuremburg.
February 2004
 RENAISSANCE

Fretwork example: this design is used as a panelling device for sgraffito

work in the frieze area of a frame. Most Renaissance ornament is based
on designs from classical antiquity—examples were easily found in Italy
as sources for inspiration.

Gadroon: The chief characteristic of a gadroon, or knull, is that it is

used as a bordering device sandwiched between other ornamentation.

Guilloche: defined as an interlocking pattern with a rosette in the

center, 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 through
the center, often seen in architectural ornamentation in conjunction
with other patterns such as lamb’s tongue.

Ornamentation in Frame Design

 NEO-CLASSICAL

Acorn and acanthus leaf: an acanthus leaf with alternating sprays

A water leaf site edge with an anthemion corner design; the cabled of three acorns set into an acanthus bud.
fluting on the panel terminates in a tongue and dart ornamenta-
tion.

Acanthus and acorn: stylized acanthus with alternating acorn and

dart.

A palmette design alternating with lotus husk, terminating in two

rosettes.

Acorn and leaf: an undulating spray of oak leaves interspersed with

acorns.

Stylized anthemion with alternating rosette.

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

Acanthus and anthemion: acanthus leaf with an alternating Thistle: an undulating spray of thistle flowers, buds, and leaves.
anthemion terminating in an acanthus leaf corner.
February 2004
 ART NOUVEAU

Stylized tree panel with

large, coin-shaped leaves
terminating in a Celtic-
inspired interlocking scroll
root system.

Heart-shaped morning glories alternating with morning Corner ornament: a

glory flowers in an interlocking pattern. stylized, interlocking
pattern of heart-shaped
morning glories.

Stylized oak leaf

embellished with seed
pods.

Muriel Moller drawing with stylized anemone flower and

leaf with ribbed background.

A sunflower-like
rosette with stylized,
interlocking ivy leaf
and vine.
Muriel Moller carving based on the anemone flower design
seen above.

Ornamentation in Frame Design

 FRAMES AND PROFILES

Italian Renaissance frame, late 16th century.

Italian Renaissance frame, 16th century.

American Gothic Revivial frame, c. 1850. American Whistler-style frame, c. 1880-1900.

American Federal style frame with American Impressionist style frame, c. 1900.
a twisted rope design, c. 1810.

February 2004
 FRAMES AND PROFILES

Typical French Louis XIII

frame (left) and profile.

Typical French Louis XIV

frame (left) and profile.

Typical French Regence

frame (left) and profile.

Typical French Louis XV

frame (left) and profile.

Ornamentation in Frame Design