GERING & LOPEZ

How pictures are put together, and how to stand in front of them.

Close-up of a gilded frame corner mitre joint, gold surface slightly worn at the apex, dark background

Close-up of a gilded frame corner mitre joint, gold surface slightly worn at the apex, dark background

Photo: Furkan Salihoğlu / Pexels

Layer 7 of seven

FRAME

Moulding profiles, gilding, rebate depth — the frame as part of the picture rather than an afterthought.

Where FRAME sits

The stack, back to front, with band depth set by how much each layer carries here. FRAME is layer 7 of seven.

BEHIND IT ▼ LIGHT
NOTHING IN FRONT OF IT — THIS IS WHERE THE PICTURE MEETS THE ROOM

What to look for in this layer

Profile width
how the mass of the moulding prepares (or fails to prepare) the eye before it reaches paintFrom “The Picture Starts at the Moulding” →
Water gilding
bole layer of coloured clay allows burnishing; mirror-bright high points, deliberate matte passages in recessesFrom “Water Gilt, Oil Gilt, Spray — What the Difference Looks Like” →
cassetta frame
a flat, shallow profile of Renaissance origin, often inlaid with contrasting wood or stone; designed to border without competingFrom “Period Frames and the Wrong Century” →
Rebate (rabbet)
the stepped channel on the inner back edge of a frame into which the picture sits; sometimes called the sight edge's reverseFrom “The Rebate Too Shallow for the Painting” →

Everything in FRAME

4 pieces.