Save
Save chapter to my Bookmarks
Cite
Cite this chapter
Print this chapter
Share
Share a link to this chapter
Free
Glossary
Richard R. Brettell, Steven Starling
Description: The Art of the Edge: European Frames 1300–1900
The Art of the Edge: European Frames 1300–1900
Glossary
Author
Richard R. Brettell, Steven Starling
PublisherArt Institute of Chicago
Copyright© 1986 by The Art Institute of Chicago
https://doi.org/10.37862/aaeportal.00128.008
Stable URL: https://aaeportal.com/?id=-15718
View chapters with similar subject tags
Chapter images ()
Loading image navigation...
No image index could be found for this publication.
Close this Panel
Show previous images Show next images
Glossary
Acanthus
A decorative motif based on the leaves of the acanthus plant, which has been used in architecture and the decorative arts since classical times.
Anthemion
A decorative motif consisting of a radiating cluster of leaves, based on the honeysuckle leaf.
Astragal
A convex molding that is semicircular in profile.
Back frame
The structural frame to which decorative carved moldings may be attached. Since the role of the back frame is not decorative, it is often made of wood inferior in quality to that of the carved moldings. The back frame is sometimes called a blind frame.
Bar-and-bead
An astragal or torus molding carved to resemble elliptical bars separated by beads.
Bead course
An astragal or torus molding carved to resemble a string of beads; sometimes called a pearl course.
Beetle damage
Structural damage to wood caused by the channels bored by the larvae of the European furniture beetle (Anobium punctatum); traditionally called wormwood.
Bevelled lap joint
A lap joint whose contact planes are cut at a raking angle.
Bole
See Gilding.
Bronze powder
Pulverized bronze, mixed with a painting medium; often used to “restore” gilt wood. The disadvantage in using bronze powder is that the copper element in the bronze oxidizes and darkens.
Cabling
A decorative motif in which the concave channels of a fluted surface are filled with convex shapes; also called stopped-fluting.
Cabochon
An ornament resembling a smooth, convex oval gem.
Cartouche
A decorative enclosure resembling a shield or scroll, often with boundaries of C-scrolls or scrolled foliage.
Caryatid
A female figure used as a half-column in classical architecture; in frames, a decorative motif resembling an architectural caryatid.
Cavetto
A concave molding that is quarter circular in profile.
Chain carving
An ovolo or torus molding carved to resemble interlocking links of chain.
Channel
A flattened concave molding that is similar to a scotia, but less deep.
Chevron
A V-shaped ornament.
Cresting molding
A projecting, curved molding that resembles a cresting wave in profile.
Crossetted corner
A corner with a rectangular or square projection at the outer edge.
Cusped arch
An arch whose inside edge is embellished by intersecting arcs.
Dado
The central section of an architectural pedestal.
Decape
A late 19th-and early 20th-century frame finishing technique in which old, damaged gilding is painted over with a translucent wash.
Dentil course
A rectangular molding carved into a series of small blocks, vaguely resembling teeth.
Diaper pattern
A diamond-shaped pattern.
Diptych
A pair of panel paintings hinged together or otherwise attached to one another.
Egg-and-dart, egg-and-leaf
An ovolo molding carved into a regular series of ovoids separated by darts or leaves.
Fascia
A molding that resembles a broad, shallow step in profile.
Fillet
A molding that resembles a narrow, shallow step in profile.
Fluting
Concave channels embellishing a molding; derived from the vertical channels in classical columns.
Fret
A geometrical pattern of intersecting horizontal and vertical bands; also called key pattern or meander pattern.
Gadrooning
Carved edging of convex curves; also called lobing.
Gilding
The application of gold leaf to prepared carved wood. There are two main types of gilding used in the finishing of frames: water gilding and oil gilding. In water gilding, the carved wood is first sealed with a water-soluble collagen glue (parchment glue and rabbit-skin glue being the most common). A white primer is prepared using the same glue, to which chalk or a similar substance (calcium sulphate or kaolin, for example) is added. This primer is generally called gesso. After several coats of this primer, the surface is smoothed. The smoothed gesso may be engraved or carved—this technique is called trimming in America—to add details or texture. A second, finer primer is made by combining the same adhesive with a clay-like material (hydrous aluminum silicate). Again, in America this material is called bole or burnish clay. White, red, yellow, and bluish-black are the most common colors; the latter three result from impurities in the material. Several light coatings of this bole are applied over the gesso. Together, the layers of gesso and bole constitute the gilding ground. Leaves of gold are cut to proper size on a special leather-covered cushion. The leaves are lifted with a wide thin brush called a tip, which, in order to make the delicate leaf cling to the brush, is made slightly oily by passing it lightly over the gilder’s cheek or hair. The ground is moistened, reactivating the adhesive in the bole, and the gold leaf is lightly set in place. After drying, the gilding may be left with a matte finish or it may be brought to a brilliant polish by burnishing it with various sizes and shapes of agate or hematite burnishers. In many frames, matte water gilding is juxtaposed with burnished water gilding for contrast. A variety of surface coatings may be used to tint and/or seal the finished gilding.
In oil gilding, the primer may be the same as that used in water gilding, or it may be an oil-based white lead primer. If it is gesso-type primer, it must be sealed to render it non-absorbent. Any of a variety of oil-based sizes may be used as an adhesive for the gold leaf. The application of the leaf is the same as in water gilding. Oil gilding cannot be burnished, so it always has a matte effect. As with water gilding, a number of surface coatings may be used to enhance and protect the finished oil gilding. In some frames, both water gilding and oil gilding are used.
Silver leaf may be used in place of or in conjunction with gold leaf in any variety of gilding. Since silver lacks the durable qualities of gold, it must always be sealed with a varnish to prevent tarnishing, and it is sometimes covered with an orange varnish to imitate gold leaf. Occasionally, cheaper substitutes for gold and silver leaf are used—copper and aluminum leaf are the most common. Neither of these substitutes, however, can be burnished in leaf form, and they are inferior in appearance to the precious metals. Gold and silver leaf can be pulverized, mixed with a painting medium, and applied like paint.
Gold leaf
An alloy of gold, copper, and sometimes silver, which is beaten to an extreme thinness by hand or by machine. Modern single-thickness gold leaf is approximately 1/250,000 of an inch thick. The varieties readily available today are 23 K (deep gold), 18 K (lemon gold), 16 K (pale gold), and 12 K (white gold).
Ground
Guilloche
A pattern of bands twisted over one another to form interconnecting circles; also called plaiting.
Imbrication
An overlapping pattern, usually of scales, flowers, or leaves.
Lap joint
A joint where half of the ends of each board are cut away at an angle perpendicular to the sides of the boards.
Leaf-and-dart
An ogee or ovolo molding carved to resemble leaves separated by darts.
Leaf-and-stick
A torus or astragal molding or dowel carved to resemble leaves spiraled around a stick.
Miter
Most commonly, a diagonal corner joint achieved by cutting each of two boards at a 45 degree angle relative to their outside edges.
Money carving
A carved pattern of overlapping discs resembling coins.
Mortise and tenon
A joint where one board is cut away on all four sides, producing a projection called a tenon, which is inserted into a corresponding rectangular cavity, or mortise, in the second board.
Ogee
A molding that is S-shaped in profile; also called cyma reversa or cyma recta, depending upon the orientation of the curves.
Ovolo
A convex molding that is quarter circular in profile.
Palmette
A stylized palm leaf.
Pediment
The triangular gable in classical architecture, imitated in tabernacle frames.
Pipe carving
A carved decorative motif with curved raised bands resembling bent metal pipes.
Polyptych
An altarpiece consisting of four or more panel paintings connected in a single structure.
Quatrefoil
A four-lobed aperture.
Rabbet
A groove along the back inner edge of a frame against which the painting rests; also called a rebate.
Reposes
The unembellished areas between the carving in center-corner pattern frames. Reposes are sometimes called mirrors, as they are often, if gilded, more light-reflective than the carved parts.
Rosette
Flower petals arranged in a radiating pattern; called a patera when enclosed in a circular band.
Scagliola
Crushed marble in a polished gesso cement; an imitation of highly figured marble.
Scotia
A concave molding that is semicircular in profile; also called a cove.
Shield-and-leaf
An ogee molding carved to resemble small shields separated by leaves.
Silver leaf
Pure silver prepared in the same way as gold leaf. Silver is less malleable than gold, hence silver leaf is thicker than gold leaf.
Spandrel
The triangular space between the curve of an arch, a horizontal line projected from the apex of the arch, and a vertical extended from the outside edge of the arch.
Spline
A straight or tapered piece of wood inserted into a routed-out groove parallel or perpendicular to a mitered joint; unless stated otherwise, all splined miters in this catalogue are perpendicular splines.
Stick-and-ribbon
An astragal molding or a dowel carved to resemble a ribbon spiraled around a stick.
Swag
A festoon of flowers, fruit, or foliage.
Taenia
A molding that is a flat, raised band in profile.
Tongue-and-leaf
Another term for shield-and-leaf.
Torus
A convex molding that is semicircular in profile.
Triptych
Three panel paintings hinged together or otherwise attached; frequently, the central panel is twice the width of the side panels, called wings.
Volute
A scroll-like ornament derived from column capitals of the Ionic order.
Glossary
Next chapter