The Remaking of a Stanford White Designed "Aedicule Frame"
By William Adair
What is an Aedicule Frame?
In today's vernacular, a frame that is flanked by two columns, supporting an entablature pediment, is refered to in the generic sense as a "Tabernacle Frame". Whatever variety this form this takes, the technical (Greek) name in decorative arts books it is refered to as an Aedicule Frame. (1)
, (see Figure 1, Pediment Tabernacle Frame)
Many of the renaissance tabernacle/ aedicule frame designs are based on ancient greek grave stele. They often will have an Anthemion and rosette ornament that protrudes from the main section of the pedimentor arched top. Some of these grave stele contain incriptions or low relief carving with floral and foliate designs. They have been found in the Egyptian, Greek, Etruscan and Roman societies, often surmounted with anthemion or acanthus leaves as well as other classical motifs.
The basic form of these ancient stele examples from the necropolis develops into the renaissance picture frame. On picture frames from the XV century, the pediments will sometimes contain a painting depicting some aspect of the resurection or rebirth of Christ. The two side columns are surmounted by capitals of acanthus leaves and rosettes. In addition, there is typically a latin inscription at the base, or predella area, invoking grace or help from the Virgin. For example, (See Figure 2, Arched Tabernacle Frame) the inscription on the base of this frame pleads for the Virgin's help for domestic issues " Ave Maria Grazia Pena Domestecus", whereas the incription on Figure #1 invokes the help of the Virgin for all heavenly matters: " Ave Maria Stella Diem". The symbolism of these frames, as originally conferred with ornamented doorways depicted on sarcophagai, was to encourage the concept of a link or passageway to the afterlife.
In some cases, the design of the frame included an antependium that completed the balance of the overall design, ( see Figure 3,) and turns the frame into a piece of architectural sculpture, painting, and aedicule, all combined in one concise object. It is not exactly known what this frame originally housed, it probably was a relief sculpture of wood , terra cotta, or stucco.
The ancient Italian city of Ostia , near Rome, contains many sarcophagai, grave stones, and building fragments that incorporate similar ornamentation and forms. Some years ago I saw a niche remaining there which was incorporated into the exterior wall and finished with tiles and fancy brick work. These niches are part of the architectural components of the building and are also excellent examples of the aedicule form. At the base, there is a platform base for a sculpture which was placed there as an offering. In other Italian cities such as Pompeii or Herculaneum, the interior walls of the residence were exquisitely painted with many architectural forms that echoed the aedicule, thus conjuring the illusion of three dimensional space. Many of the best examples are now in the Archeological Museum in Naples.
The tabernacle or aedicule is a style of frame that is part of mankind's collective aesthetic culture which manifests itself in different forms throughout the history. For example, (Figure 4, Renaissance Style Cabinet ) this 17th century Renaissance Style cabinet contains similar features that relate directly to tabernacle frames for paintings or bas relief sculptures. This cabinet has allegorical figures of love carved into the door panels and has double turned columns on the top section. The entablature is surmounted with a broken pediment with a cabochon and low relief carving on many of the surfaces.
All of these classically inspired elements were the
kind of qualities that Stanford White, the American architect (1853-1906)
, admired and sought to re-create when he designed frames for his artist
friends.
Stanford White and the Renaissance Revival:
The renaissance revival style was championed by the prestigious New York architectural firm of McKim Mead and White, which was founded In 1881. During the next quarter century, White and his partners were commissioned to design many important buildings, both public and private. They invariably selected as a basis of design, the elaborate and classically inspired forms of the renaissance masters.
The preceding Victorian period had been filled with a conglomeration of revivals of other styles. Starting in the 1850s, with the strong overtones of the Greek, Gothic, Rococo, Dutch, and Spanish revivals. The Pre-Raphaelite movement in England developed the use of tabernacle frames in the 1860s. This was followed and perhaps paralleled by the simplicity of the Arts and Crafts, the restrained elegance of Eastlake and finally the art-frames of the sececcionists and of the Art Nouveau movement. This new aesthetic period encouraged a philosophy that considered the frame an extension of the art it contained., rather than the Victorian concept of elaborate frames being just an excuse for having a painting.
It was in this fertile environment that Stanford White thrived developed personal ideas of frame design based on a synthesis of previous historical styles. He understood the importance of frames and designed many styles for his artist friends such as Abbott Handerson Thayer and Thomas Wilmer Dewing, just to name a few who were enamored by his frame designs.
White's background in frame design most likely began with his apprenticeship with the architect, Henry Hobson Richardson, between the years 1872-78 where he became an adept draftsman often dealing with the ornamental elements of the Richardson's projects that focused on color, low relief carving, and the harmony between the overall design and the all important surfaces of both the exterior and interior of the buildings. White also forged life long friendships with others working on the project such as John Lafarge, Augustus Saint-Gaudins and his future partner, Charles Follen McKim . They all worked together on Trinity church in Boston during this important developmental period.
In 1879, at the impressionable age of 26, Stanford White made a sketching trip throughout Italy and France with two of his friends, fellow architect, Charles Follen McKim and sculptor, Augustus Saint-Gaudens.
It was this kind of activity that fermented the classical ideals that were later to permeate every aspect of his ouerve. White went on to design the pedestals for Saint Gaudens sculptures: White and McKim were to be partners in their own successful architectural firm with William Rutherford Mead in 1881, winning some of the most important public commissions such as Madison Square Garden, The Metropolitan Club, and many more public and private commissions. Eventually they were founding members of the American Academy in Rome, which sponsored the classical training of promising young Americans and continues to do so today.
White was an enigmatic character who was sought after by important collectors as well as the artistic crowd of painters and sculptors. He also collected antique frames with a passion. There were over 60 in his estate when it was auctioned in 1906.
He often used these antique models for inspiration for his own frame patterns (see figure 5). This particular frame was is from the estate of Abbot Handerson Thayer. It was designed by Stanford White for one of Thayer's angel paintings to enhance the idealized woman concept so prevalent in his paintings of women. The frame enhanced the concept of classical purity and the portrait of his daughter with angel wings became a renaissance recreation with the help of White's frame.
In addition to using antique frames for sources of inspiration, he skillfully combined the original frames into his elaborately designed interiors. He was sensitive to the aesthetic concerns of his artist friends and the style of paintings that they created. He wanted the frames to be part of their aesthetic in the painting as well as provide a setting that enhanced to mood or created an effect that the painting could not provide alone. This approach to design was something of a specialty. Some call him the greatest designer America has ever produced. He was skillful in blending the concepts of classical ideals with his own sense of good taste and proportion.
His friends and contemporaries admired his skills
and constantly
asked for his help . For example, Charles Lang Freer,
wrote to him on
December 7th, 1905 ( From the Freer Gallery of Art
Archives)
" Dear Stanford..., I spent a day with Abbot Thayer
at Dublin and saw a picture now nearly completed... It is a life size figure
of an angel (the portrait of his youngest daughter). I think it is the
finest large thing he has ever done. He is extremely anxious to have a
fine frame for it, and would like the frame designed, made, and sent to
him at Dublin, so that he can finish the canvas in its frame. He and I
both agreed that if we could induce you to design the frame the whole thing
would be perfect..... If you will kindly design the frame, Thayer will
send you a photograph of the picture together with the dimentions...
Very Sincerely Yours,
Charles L. Freer
White rose to the occasion and help out his friends. The frames he liked to design were specific to each the artist. For example, the frames for his friend Thomas Wilmer Dewing had an open wire grille pattern on the center panel that resembled a piece of lace. (2)
The most prevalent characteristic is that all of White's designs have a distinctive quality of restrained elegance without being opulent. The correct size of ornament and the properly balanced proportion of molding profile was the basis of his genius.
White took on the challenge of designing the frame for Thayer's Angel painting for Freer. However, as the following letter indicates, the path to success is not always easily found. The frame was made, but Thayer was unhappy with the size of the opening or sight dimension.
Abbot H. Thayer wrote to White on Feb 24, 1906
" Here comes a vexation for you. In spite of the fact that Saint Gaudens and Dewing both looked at the photo of my angel, and told me the exactly the same dimentions as to where to cut off the canvas, I believe it is cut too small ! Dewing will send you the little photo, and you will be so awfully patient to paste it onto a paper and draw its frame round it and see if I'm not right, that it is cut too small and that some of the white border has got to show between the painting and the frame, all the way round... Your present frame cuts it at the paint line..I had this white border all the time, and I think IT IS IN THE COMPOSITION. Cut off as they advise, the long verticle line of her is stopped too short at bottom and top, and all the beauty is gone. If you agree, then send me my photo, mounted in a drawing of its frame, as I suggest, and with spacing according to Stanford White. Send also the section of the frame, so that I may see how much shadow the mat will cast. Then, with all this help, I will build an imitation frame like it, and let you know the moment I feel sure your size etc. are right (of course you are at a great disadvantage for want of seeing the painting) If this gruesome trouble is a fact, I will of course take the present frame for another picture.
Yours most penitently and abjectly,
Abbot H. Thayer"
A week later, after much consternation, Thayer
was ready to give up on
the frame project and somehow managed to avoid
painting a greek key
design on the border of the painting as he had
been considering to do as
method of solving the problem. Ultimately, the problem was resolved by White and a new frame was made accommodating the artists's wishes. The resulting situation was that Thayer had an excess of frames to use for his paintings. This general style of tabernacle frame (see Figure 5 , Stanford White Designed Tabernacle Frame) was one of the more successful designs for Thayer's paintings of idealized women.
Gold Leaf Studios in Washington D.C., was recently commissioned to copy this frame for a private client who wished to have it produced on a slightly smaller scale for another Abbot Thayer painting. The most difficult and time consuming part of the project was to re design and sculpt the ornamentation on a smaller scale without changing the overall effect or countenance of the frame. Certain elements, such as the smallest running ornament of a bead and reel design, was already small (1/8 th of an inch) so that to reduce its size would have been impractical. The other larger motifs, such as the Greek key design, anthemion, palmette and capital, were reduced by approximately 20%.
The process began with a drawing of each profile or shape of the molding . This was achieved through a careful and thorough study of the original frame. During the process of sketching it, the general sense of proportion and precision of White's design came to be understood.
After the drawing was complete (see Figure 6, Tabernacle Drawing, Reduced Scale, Gold Leaf Studios)
The wood was shaped with a table saw and cutter blade attachments. Individual components were milled separately, and then glued together, sometimes reinforced with interior wood splines or alternately with wood screws to hold the wood joints together.(see Figure 7, Tabernacle Frame, Raw Wood)
The wood was then gessoed with traditional gesso , consisting of rabbit skin glue and whiteing or calcium sulfate. Then all surfaces were polished smooth with fine sandpaper.
The next phase was to resculpt the ornament and make a mold with a hard rubber urthene molding compound. The drawing was used as the basis for the modeling skillfully done with plastilina clay mounted to a flat smooth board. A wooden dam is built around the ornament and the rubber is mixed together in equal parts and then poured into the chamber. It is typically allowed to stand over night before use, although it hardens in about 4 hours. The compo is heated and then squeezed into the molds with back boards that have been moistened with water. The composition ornament, when cooled, was then sliced from these boards and attached with hide glue and small brads. (see Figure 8, Compo Ornament, Stanford White) All the brad holes were filled with gesso putty. The surface was coated with gilders bole and water gilded with 23.5k Antique gold. It was then burnished to a high luster with agate stones. The frame was toned with thin shellac and dry pigments which helped to recreate the subtle effects of aging. The project took one month to complete, on time and over-budget. Nevertheless, we have the satisfaction of knowing that the studio can recreate a masterpiece of American design and craftsmanship.
Picture and mirror frames have always been an important part of every household's inventory, yet for various reasons, frames are often overlooked in the study of the decorative arts. An early Aedicula picture frame is neither a piece of furniture nor sculpture nor architecture, but an amalgam of all three. We know that Stanford White avidly collected frames directly through various Italian dealers such as Stephano Bardini.(3)
When White acted as consultant for collectors, he provided the influential link between the Classical past and his contemporary environment.
Since his death in 1906, there has been a void in the appreciation of the classical decorative arts. Part of the reason for this void in the study of frames has been the lack of any systematic documentation or surveys of frames as they relate to their original paintings. There is not yet an agreed upon nomenclature used to describe the various components of frames, nor yet a central resource for information on frames. As a result, many frames are not attributable to specific makers,(unless they are signed or labeled) and many of the patterns that exist are just part of the general lexicon of design which are often used without regard to historical considerations. On the whole, the frame has been a treated as a forgotten accessory to the painting and not really considered worthy of curatorial consideration, until recently.
The frame is a unique entity that is linked to the taste and style of each design movement, each period , and each aesthetic sensibility, and each artist, often revealing lost intricacies of the important relationships between paintings and their original surroundings. The frame will also reveal how the artist was valued by collectors , and perhaps provide some forgotten details about the artist's or patrons taste.
During White's lifetime he restricted the unauthorized production of his designs. according to the and it took about until after White's death, frames were produced by Chicago's Newcomb -Macklin Co. well into the twentieth century and used by many artists who never knew White or his influence on American Frame design. (They are now produced by the
Thanhardt-Burger of La Porte ,Indiana.) This predilection for frame design by White exerted a wide sphere of influence hat sent ripples out into the frame world. The frame contains design elements of architecture, furniture, and sculpture, often being an artful mediator between the illusionary painting and the environment in which the exists.
There is a growing underground of connoisseurs
who are beginning to know the importance and value of a good frame. Painters
have long understood the nature of the frame and its influence, either
good or bad, over a painting. "A good picture deserves a good frame and
a bad picture will preserve its place longer by having a handsome frame"
Charles Wilson Peale wrote in 1807 to a man in Kentucky. Later in the century,
Detroit philanthropist, Charles Lang Freer, wrote to American artist Frederick
Church, " I do not like old style crude frames, I believe for your own
delicate creations and that of Dewing and Tryon in particular, the designs
of Stanford White are altogether the best in existence. Years ago Whistler
learned that his best pictures appeared hideous in conventional frames"
Strictly a shrine framed by two columns supporting an entablature and pediment, set in a temple and containing a statue; the form was later adapted and much used for framing doors or other openings with columns, piers or pilasters supporting a gable, lintel, plaque, or an enatblature and pediment. The Penguin Dictonary of Decorative Arts.,Viking , 1989
2. 2..For the most thorough treatment of Dewing's frames see Dr. Susan A. Hobbs , The Art of Thomas Wilmer Dewing: Beauty Reconfigured (Brooklyn Museum, Brooklyn New York
3. The Bardini Museum in Florence holds a repository of the estate of Stephano Bardini, one of the great antiquarians of the late 19th century . He provided many important works of art to American Collectors either through direct sales or through auction at the such as J.P. Morgan, William Randolph Hearst, Duveen Brothers and many others.