Rococo Frame and Mirror - Dusty White and Gold

The 18th century had a particular attachment to richly carved and gilded frames. The gilded Rococo style has become in some ways the characteristic French frame. It gives the impression of having kept its worth or its symbolic prestige for a long time, even into the present century.
Royal portraits received the richest of frames throughout the 18th century; – and it was not only the original portrait which had to be framed, but the numerous copies bestowed by the king and his family on ambassadors, foreign rulers, churchmen, ministers, and also the principal institutions of the kingdom. The relative opulence of the carving of the frame was an index of the recipient’s importance, or of the mark of esteem expressed by the royal gift. According to this scale of comparative richness, each frame would include just corners, corners and centres, plus or minus a fronton or crest, plus or minus the panels between centres and corners (i.e. a plain or decorative hollow). The mouldings of the sight and top edges were also enriched with one or several runs of decoration in line with this hierarchy.
In the early years of the century, each constituent element of the frame tended to remain independent, but the ornament spread itself progressively over the entire ogee, the frame thus becoming one single decorative unit.
The giltwood frame assumed a paramount importance to the 18th century, although in relation to interior decorative schemes from which it cannot be separated. It offered new possibilities to the makers of ornament, which were sometimes greater than those available in purely architectural decoration. The most opulent of of these possibilities were realized in the frames, in particular, of royal portraits.
The immense success of these French frames can be measured in the quantity of foreign imitations. The frames in the collection of the Elector Max-Emmanuel in Munich, Catherine II in Russia, and Frederick, Prince of Wales, were modelled in a style based on these French corner-and-centre patterns, plus or minus frontons. Similarly, in the next century, the decorative mass-production industry also concentrated on reproducing these models.

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There are 2 models included, the picture frame (picture 1) and mirror (picture 2). You can replace the painting provided by going into edit mode, selecting "select tool" mode, and then replace the painting in texture tab. If the aspect ratio looks wrong, select planar mapping in texture tab, and adjust the scale and rotation.

The painting provided is the portrait of Jeanne Antoinette Poisson, Marquise de Pompadour, commonly known as Madame de Pompadour (between 1763 and 1764) by François-Hubert Drouais.

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The last six pictures are intended as decoration suggestions. In the picture 7 you can see vertical composition of allegorical portraits (in this case all by Jean-Marc Nattier). In the picture 8 you can see horizontal composition of pastoral painting (in this case all by François Boucher). As I made these frames as a part of Salon de Musique (part of a chateau I am currently building for second life) I included last 4 pictures as an example how I intended to use these frames.

You can adjust the intensity of the shadows behind the frame by selecting the face of the shadow and lowering the transparency to your liking.
Contains Normal and Specular maps.
Land impact is 1 for every size below the 1.44m of height.
Number of triangles: 4251
Copy and Modify rights.