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The use of the world frame transferred to common language to indicate the relationship between an object and its environmental context gives some idea of the importance of what is commonly referred to as the container with regard to the contained. Korištenje svijetu okvira prenesene na zajednički jezik s označavanje odnosa između objekta i njegove zaštite okoliša kontekstu daje neke ideje o važnosti onoga što se obično spominju kao kontejner s obzirom na ograničene. Just as in the case of a building one notes the harmony with the surrounding landscape or urban framework, so with a painting should one observe how the frame is in tone both with the subject matter of the picture itself and with the surrounding wall, since the frame has the double function of completing the work of art and at the same time harmonizing with the space around it. Baš kao u slučaju zgrade jedne bilješke u skladu s okolnim krajolikom ili urbanih okvir, pa sa slike bi trebali promatrati kako jedan okvir koji je u ton s obje predmet na slici i sama s okolnim zidom, jer su okvir je dvostruki funkcija završetka umjetničko djelo i istovremeno uskladivanja s prostora oko nje.

The fact that the word “frame” (Italian word “cornice” which, apart from the architectural significance, also means picture frame) is used in architectonic glossaries to indicate the crown of a building (derived from the Greek word “coronis”) and in the case of the classic temple the part of the pediment above the frieze, explains the rapport it has with space. Činjenica da je riječ "okvira" (talijanska riječ "krovni vijenac" koji, osim arhitektonski značaj, znači i sliku okvir) se koristi u arhitektonski glossaries pokazujući vijenac zgrade (izvedena iz grčke riječi "coronis") i u slučaju klasičnih hram u sklopu zabat iznad friza, objašnjava veza ima sa prostora. This nexus with the architecture is a constant factor accompanying the history of the frame, given that the letter has always followed the developments and character of contemporary architecture. Ova veza sa arhitekturom je konstantan faktor prati povijest okvir, s obzirom da je pismo uvijek slijedili razvoj i karakter suvremene arhitekture.

The protective function of the frame should also be born in mind since this has been determining factor in its history. Zaštitna funkcija okvir bi trebao biti rođen u obzir jer je to faktor u određivanju svoje povijesti. The frame was invented for the specific function of protecting precious objects from the ravages of time as well as adding a finishing touch. Obruč je izumio za određenu funkciju zaštite dragocjeni predmeti iz ravages vremena, kao i dodavanja finishing touch. In fact, the first frames belong more to the goldsmith’s field than the one of woodworkers, and the frames were made up of gems and enamels on a gold background. U stvari, prvi okvira više pripadaju u zlatar polje od jednog od woodworkers, a okviri su sastavljene od dragulja i zlata enamels na pozadini.

The thirteenth century saw the first use of wooden frames, carved in the wood of the paintings itself and decorated and decorated with gold leaf over a red under varnish which oft remains visible today as a proof of the authenticity of the gold leafing. Trinaesti stoljeća vidio prvi korištenje drvenih okvira, rezbarena u drvu i slika sama i uređena i ukrašena zlatom list nad crvenom pod lakom koji često ostaci vidljivi i danas, kao dokaz autentičnosti zlato leafing.

An example of the 13th century frame is that of the Madonna dei Rucellai by Duccio di Buoninsegna in the Uffizi. Primjer 13. stoljeća okvir je da je Madonna dei Rucellai po Duccio di u Buoninsegna u Uffizi.

In the 14th century the frame blends in with contemporary gothic architecture, thus becoming ever more elaborate and decorative and acquiring the character of a craft in its own right, the work of increasingly expert carvers able to blend the material to their inventive wills. U 14. stoljeću u okviru mješavine sa suvremenim gotičke arhitekture, tako postaje sve više i složen dekorativnu i stjecanje karakter plovilo u vlastitu pravo, rad sve stručne carvers moći mješavina materijala za njihovu inventivan hoće. It was in Venice that the first real dynasty of “intajader” was created, the Moranzons, who frequently signed the frame alongside the painter and were respected as real artists. Bilo je u Veneciji koja je prvi pravi dinastije iz "intajader" je otvoren, u Moranzons, koji je često potpisan okvir uz slikara i bili su poštovani kao pravi umjetnici.

From Venice the art of “intaglio” spread throughout the Central Italy to Umbria, Le Marche and Florence. Iz Venecije umjetnosti "urezivati" proširila diljem Italije Centar za Umbrija, Le Marche i Firenci.

The classical style of the renaissance palace of the 15th century inspired the so called “anconetta” or altar piece, often crowned by a tympanum and enriched with gilded decorative motifs moulded from a paste of marble dust, plaster and glue, similar to those found on the matrimonial chests of the period. U klasičnom stilu renesanse palača 15. stoljeća inspirirala tzv "anconetta" ili dio oltara, često okrunjen je bubanj i obogaćen s pozlaćenom ukrasni motivi moulded od paste od mramora prašina, žbuka i ljepila, sličnih onima koje su pronađene na je bračni škrinje od razdoblja.

Inspired by mannerist architecture is the frame known as “tabernacolo”, characterized by semi-precious stones and by spirals which emphasize the vertical movement of the piece. Inspirirani manirist arhitektura je okvir poznat kao "tabernacolo", karakterizira polu-dragim kamenjem i spirals koji naglašavaju vertikalna kretanja u komadu.

An original creation of the Tuscan artisans of the Renaissance is the round frame or “tondo”, whose origin may be traced to the imagines clipaetae the painted shields enriched with naturalistic motifs derived from the plastic arts of the time, like the wreaths of fruits around the glazed terracotta plaques made by della Robbia family. Izvorni stvaranje je toskanski obrtnicima od renesanse je okrugli okvir ili "tondo", čije je podrijetlo svibanj se pratiti na Slike clipaetae je slikano štitove obogaćeni naturalistički motivi izvedeni iz plastične umjetnosti od vremena, poput vijenaca voća oko glazirana terakota plaques je izradio della Robbia obitelji. An example of the tondo in carved, gilded wood is that framing the Sacra Famiglia by Luca Signorelli and also that of the Tondo Doni by Michelangelo in the Uffizi. Primjer je urezan u tondo, pozlaćen drvo je da je aero Sacra Famiglia by Luca Signorelli i da je Tondo Doni by Michelangelo u Uffizi.

During the 16th century there was no lack of the frames known as “a cassetta” (box frames) made of walnut and often picked out in gold and the so called “sansovina” frames named after their designer, the artist Jacopo Sansovino, recognized by its spirals, rosettes and small carved heads and sometimes further enriched with festoons after wall decorations of the period. Tijekom 16. stoljeća nije bilo nedostatak od okvira poznat kao "cassetta" (okvir okvira) od oraha i često se preuzima u zlato i takozvanih "sansovina" trenica zove nakon dizajner, umjetnik Sansovino Jacopo, sankcionisan svoje spirals, rozete i urezanim malih grla, a ponekad i dodatno obogaćeni festoons nakon zid u razdoblju od dekoracije.

In the 17th century there was a proliferation of princely collections in which the frame formed an integral part in the furnishing of the space given to the paintings. U 17. stoljeću došlo je do od rastućeg kneževski zbirkama u kojima je oblikovan okvir sastavni dio u opremanju je dao prostor za slike. Italian galleries were dominated by the so called “ salvadore frame, named after the Painter Salvatore Rosa who invented them; these had a smooth and grooved outline with no decoration other than gilding, while in the north, particularly in the Low Countries the “ Flammleisten” prevailed, in black stained pear wood, used mainly to frame landscapes, portraits and genre scenes. Talijanski su galerije u kojoj je dominirao tzv "salvadore okvir, koji je ime dobio po Slikar Salvatore Rosa, koji je izumio ih, te je imao glatka i grooved obris bez dekoracija osim pozlata, a na sjeveru, osobito u zemljama s malo" Flammleisten " prevladavao u crno pjegav kruška drva, korišten uglavnom za okvir krajolike, portrete i žanr scene.

A notable characteristic of the 17th century baroque frame is the presence of intaglio in which the craver competes, if not identifies himself with the sculptor in boasting fantastic decorative motifs derived chiefly from prints inspired by the works of nature: acanthus leaves, fish scales, dragons, lions, heads, seem to be devouring the frame wood and mingle in a continues dynamism of the form. Primjetan je karakteristika 17. stoljeću barokni okvir je prisutnost urezati u kojoj se natječe craver, ako ne identificira se s kipar u hvalisanje fantastičan ukrasni motivi izvedeni uglavnom iz otisaka nadahnutog djela prirode: bodljikara lišće, ribe vage, zmajeve , Lava, glava Čini se da proždire okviru drva i miješati se u nastavi dinamizam obliku.

The imagination of the cravers was also subject to the directives of whoever commissioned the frame, and the latter often invited the artisan to take inspiration from the subject matter of the painting itself. U mašti na cravers je također u skladu s direktivama tko je proveo u okviru, a potonji često pozvao je obrtnik da se predmet inspiraciju iz obzira na slikarstvo sama.

In the 18th century the mirror took over the role in furnishing previously occupied by the frame of preceding centuries. U 18. stoljeću u ogledalo preuzeo je ulogu u opremanju ranije okupiranom po okviru prethodnim stoljećima.

The rococo style triumphed with the Luis XV frame which spread from France throughout Europe and characterized the furnishing of the era with its decorative motifs of fans, shells, and heads, often modeled in gilded stucco. U rokoko stilu, sa slavom Luis XV okvira koji širiti iz Francuske u cijeloj Europi i karakterizira je opremanju od doba sa svojim ukrasni motivi navijača, ljuske i glave, često modelira u pozlaćenom mort.

Towards the end of the century neo-classical taste imposed raw materials such as rare marbles and tortoise shell, appliqu Potkraj stoljeća neokolonijalizam klasičnih okusa nametnuti sirovine kao što su rijetka zbirka skulptura i kornjačin oklop, appliqu