Louis XVI - (1774-1793)

In the mid-1700's the growth of Neo-classicism and the rejection of Rococo was expressed in the picture frame by the creation of a distinctive and individual style. Termed ''Transitional'', these frames amalgamated Rococo cartouches with borders of classic ornament, thereby echoing the juxtaposition of existing interiors with the new order of design.

A marked stylistic change in French frames began in Louis XVI frames in the last third of the 18th century. Swept sides, convoluted corners and foliate embellishment gradually subsided in favor of simple geometric silhouettes with decorative articulation derived from classical architecture. There was often little difference between the profiles of picture frames, mirror frames and the frames surrounding doors, fireplaces and chairs.

Throughout this period, a bewildering spectrum of variation emerges. However, virtually all Neo-classical frames were generated from two basic sections. The first was a flat section, which in its narrower form may be called an architrave profile; when wider and more decorated, it may be called the entablature profile. The second section was concave, with a frieze, referred to as a scotia profile. With the legalization of molded composition in the early 1700's, both sections allowed for, and received, endless ornamental appliqués.

By the time of Louis XV's death in 1774, Neo-classicism had become so ubiquitous as to be attacked by critics for replacing the rounded ''human'' contours of furniture with classical angularities. Only some small use of Rococo remained, and some chairs with serpentine forms and curved legs were still being made in the 1780's.

Trends pursued under the Louis XVI stylistic prescription established a foundation for Directoire and Empire period picture framing. The French Revolution caused major changes in the administrative and political areas of the art world. Change in taste was, however, less noticeable. The use of molded decorations, which reflect archaeological discoveries at Herculaneum and Pompeii, are reproduced on the existing Louis XVI-based structure utilizing anthemion ornament, palmettes and honeysuckle references. At times, the composition technique was used with a degree of vitality in Empire frames, but the suitability of composition to the manufacturing process resulted in unending repetitions of the same patterns. The end of the first half of the 19th century had reduced the picture frame to the role of a fairly plain, functional object.