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A Brief Background to Renaissance Frames

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A Brief Background to Renaissance Frames A BRIEF BACKGROUND TO RENAISSANCE FRAMES Th e widespread demand for both religious and frames were also used in this way, but equally secular images during the fi fteenth and sixteenth housed secular images, such as the portraits and centuries resulted in a growing market for frames to mythological scenes that increasingly decorated house them. Painted or sculpted images of Christ, public buildings and the homes of the nobility the Virgin and saints adorned every altar, and both and growing merchant classes. traditional and new forms of altarpiece required Although many of these sculptures or pictures and framing solutions. Christian imagery was also not their frames were commissioned, Renaissance artists just confi ned to the church, but was found in a also produced a stock of uncommissioned works to variety of public and more intimate settings. For sell. 2 It is also possible that they kept a supply of example the small relief with Eve on the base, that the separate elements needed to make the frames, was originally part of a triptych Frame 9 (6867- such as lengths of uncarved mouldings and a selec- 1860), probably belonged to a woman who would tion of moulds for ornamental cast work. have used it in her devotional practice at home or perhaps when travelling. In addition to prompting Research has suggested a close relationship devotion, such images often carried talismanic asso- between painters and wood workers. 3 Th ey were ciations. In fi fteenth century Florence, for instance, employed to produce or decorate a range of Fra Dominici suggested that an image of the Virgin images and objects, from altarpieces and portraits and Child should be kept in every bedchamber as to candlesticks and furniture. 4 Th us comparisons an example. Virgin and Childs were also set up on can be drawn between the materials, techniques street corners as neighbourhood protectors. 1 and practice used in the fabrication of altarpieces, panel paintings, furniture and related objects of Th ese Madonnas often took the form of sculptural the time and those used on frames.5 reliefs made of terracotta (fi red clay) or stucco (a type plaster), which were then painted and gilded References to create colourful and naturalistic images see 1. Currie , S. & Motture , P. Th e Sculpted Object 1400- Frame 4 (57:2-1867) and 7 (93-1882). One of the 1700 . Aldershot : Scholar Press , 1997 . pp. 1–24 . advantages of these materials, which were cheaper 2. Dunkerton , J. , Foister , S. , Gordon , D. & Penny , N . than stone or marble, was their malleability, allow- Giotto to D ü rer: Early Renaissance Painting in the National ing them to be cast in moulds to produce replicas Gallery . London : National Gallery , 1991 . p. 128 . of the same scene. Although little is known about 3. Gilbert , C. Peintres et menuisiers au debut de la workshop practice, it is clear that such reliefs were Renaissance en Italie . Revue de l’Art , 37 , 1977 . pp. 9 – 28 ; Newbery , T. , Bisacca , G. & Kanter , L. Italian reproduced widely: a vast number of Virgin and Renaissance Frames Exhibition Catalogue . N e w Y o r k : Childs survive, testifying to their popularity and Metropolitan Museum , 1990 . Dunkerton et al., op cit. signifi cance. Five frames in this volume still con- pp. 122–141 . tain what appear to be their original sculptures. 4. Dunkerton et al., ibid. p. 122 . 5 . Th anks to Peta Motture for her valuable contributed to Tabernacle frames were used to house many of these this section . religious subjects. Sansovino, tondo and cassetta 2 009_H8619_Ch01.indd9_H8619_Ch01.indd 2 88/17/2009/17/2009 44:06:50:06:50 PPMM W O O D Defi nitive identifi cation of wood usually requires that produce alternating soft pale and harder dark microscopic identifi cation of anatomical features stripes in the wood. and typically requires a cubic centimetre of sam- ple to be removed from the object. 1 Such inter- Hardwoods ventive sampling was considered inappropriate Poplar (Populus spp.) is a creamy white to pale for this project, particularly for the smaller frames. brown, medium-density and comparatively light- Identifi cation of the hardwoods listed in the frame weight timber. It is straight grained with a fi ne entries was therefore based on visual examination of uniform texture. Poplar was an abundant, rela- gross anatomical characteristics. 2 Accretions or coat- tively cheap wood in Italy. Its texture made it a ings often obscure the characteristics required for suitable substrate for painted and gilded decora- identifi cation and limit the accuracy of visual iden- tion. White poplar (Populus alba ), which grew to tifi cation. Softwoods, for example pine and spruce, a size from which large planks could be obtained, are relatively easy to distinguish from hardwoods was the wood most commonly used for panel but cannot reliably be distinguished from each other paintings. 5 Poplar was observed on many of the without microscopic identifi cation. Whereas walnut frames and was used for structural work, simple and oak have distinctive characteristics that are visi- mouldings or carving. ble to the naked eye, lime and poplar can be diffi cult European lime (Tilia spp., principally T. vulgaris ) to distinguish from each other by eye alone. In some is a pale yellow wood that turns light brown on instances, both woods are suggested in the frame exposure to light. It is soft and has a fi ne uniform entry, with the most probable wood listed fi rst. texture that makes it an excellent wood for carving Woods used by Italian Renaissance frame makers detailed and delicate work. Lime was observed on and craftsmen are discussed elsewhere. 3 Mitchell the more intricately carved parts and front mould- suggested that the identifi cation of species of wood ings on some of the frames. used in frames can, as for furniture, be an impor- European walnut (Juglans regia ) is a chocolate to tant guide to a likely region of origin. Analysis of grey – pink brown medium-density timber, in which woods in seventy Italian frames in a 1976 exhibi- dark streaks and patches are often observed. Th e tion suggested that Venetian frames were gener- sapwood is pale in contrast to the heartwood, which ally made of pine or fi r with fi r backs. Florentine fades when exposed to sunlight. Walnut has visible frames generally had walnut for carved mouldings, growth rings and a medium texture. Italian walnut as well as poplar and lime, with poplar or pine back is paler than English. Walnut was valued for its rich frames, whereas in Bologna and Naples poplar was colour and was generally used where its appear- normally used. 4 Woods found on the V & A frames ance could be seen and appreciated. It is good for include the following softwoods and hardwoods. carving and was often partially gilded, as seen on Frames 20 (7694-1861) and 23 (682-1883). Softwoods Found on the back of several frames, softwoods Fruit woods , such as pear or plum, were some- have distinctive early and late-season growth rings times substituted for walnut, either because their 3 009_H8619_Ch01.indd9_H8619_Ch01.indd 3 88/17/2009/17/2009 44:06:52:06:52 PPMM particular colour and texture were preferred or fi nishes can be diffi cult to distinguish from simply because they were more readily available. 6 varnishes and waxes applied during later repairs and restorations. Pear (Pyrus communis ) is typically a pinkish-brown colour with a straight grain and a fi ne, even tex- Wood had been left deliberately exposed on ture. Pear was thought to have been used for the Frames 20 (7694-1861) and 23 (682-1883), fi ner detailed carving on Frame 10 (1079 – 1884). which are sixteenth century partially gilt walnut. A stain, wax or varnish may have been applied European oak (Quercus robur, Q. pedunculata, to enhance the colour of the wood on these Q. petraea, Q. sessilifl ora ) is yellowish-brown, with frames. light coloured sapwood. It darkens with age. It is generally straight grained but varies with growth References conditions. It has a characteristic coarse grain, and 1. Hoadley , B . Identifying wood . Newtown, CT : Taunton distinct growth rings with alternating zones of open- Press , 1990 . pored early wood and dense late wood. Distinctive 2 . Th anks to Dick Onians and Dr Adam Bowett. broad silvery rays are present in quarter-sawn mate- 3. Olga , R. and Wilmering , A. Th e Gubbio Studiolo and rial. Oak is very rarely encountered in Italian frames. its conservation . New York : Metropolitan Museum Th e two frames made of oak are thought to be of Art , 2001 . pp. 3 – 26 ; Mitchell , P. Italian pic- French (Frame 12, 649-1890) and Flemish (Frame ture frames, 1500 – 1825: a brief survey. Journal of the Furniture History Society , 20 , 1984 . p. 20 ; Bomford , 27, 1605-1855), partly for this reason. D. , Dunkerton , J. , Gordon , D. and R o y , A . Art in the making: Italian painting before 1400 . Exhibition Tools Catalogue . London : National Gallery , 1992 . pp. 11 – 13 . Renaissance craftsmen had an extensive range 4. Mitchell , P. Italian picture frames, 1500 – 1825: a brief of woodworking tools, similar to those found in s u r v e y . Journal of the Furniture History Society , 2 0 , specialist carving, framing or cabinet-making 1984 . p. 20 . workshops today. Olga and Wilmering provide 5. Dunkerton , J. , Foister , S. , Gordon , D. and Penny , N. a detailed account of woodworking tools used in Giotto to D ü rer: early Renaissance painting in the National Gallery . London : National Gallery , 1991 . p. 152 . Renaissance Italy. 7 6. Newbery , T. , Bisacca , G. and Kanter , L. Italian Renaissance frames .
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