FRAME , a word employed in many different senses, signifying something joined together or shaped . It is derived ultimately from O.E. fram, from, in its
See also:primary meaning " forward." In constructional
See also:work it connotes the union of pieces of
See also:metal or other material for purposes of enclosure as in the case of a picture or
See also:mirror frame . Frames intended for these uses are of
See also:interest but comparatively
See also:modern origin . There is no record of their existence earlier than the 16th century, but the decorative opportunities which they afforded caused speedy popularity in an artistic age, and the
See also:Renaissance found in the picture frame a
See also:rich and attractive means of expression . The impulses which made frames beautiful have long been
See also:extinct or dormant, but
See also:fine work was produced in such profusion that great numbers of examples are still extant . Frames for pictures or mirrors are usually square, oblong,
See also:round or
See also:oval, and, although they have usually been made of wood or composition overlaid upon wood, the richest and most costly materials have often been used .
See also:Ebony, ivory and
See also:tortoiseshell; crystal,
See also:amber and
See also:lacquer, gold and
See also:silver, and almost every other metal have been employed for this purpose . The domestic frame has in fact varied from the simplest and cheapest
See also:form of a plain wooden moulding to the most richly carved examples . The introduction in the 17th century of larger sheets of
See also:glass gave the
See also:art of frame-making a great essor, and in the 18th century the increased demand for frames, caused chiefly by the introduction of cheaper forms of mirrors, led to the invention of a composition which could be readily moulded into stereotyped patterns and gilded . This was eventually the deathblow of the artistic frame, and since the use of composition moulding became normal, no important school of wood-
See also:carving has turned its
See also:attention to frames . The carvers of the Renaissance, and down to the
See also:middle of the 18th century, produced work which was often of the greatest beauty and elegance . In England nothing comparable to that of Grinling Gibbons and his school has since been produced .
See also:Chippendale was a great frame maker, but he not only had recourse to composition, but his designs were often extravagantly
See also:rococo . Even in France there has been no return of the great days when
See also:Oeben enclosed the looking-glasses which mirrored the Pompadour in frames that were among the choicest work of a gorgeous and artificial age . In the decoration of frames as in so many other respects France largely followed the fashions of Italy, which throughout the 16th and 17th centuries produced the most elaborate and grandiose, the richest and most palatial, of the mirror frames that have come down to us .
See also:English art in this respect was less exotic and more restrained, and many of the mirrors of the 18th century received frames the
See also:grace and simplicity of which have ensured their
See also:reproduction even to our own
See also:day .
CHRISTIAN MARTIN FRAHN (1782-1851)
FRAME BAR REMISE
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