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| attributed to Bernard van Orley Birth and Naming of St John the Baptist ca. 1514-15 oil on panel Metropolitan Museum of Art, New York |
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| Lucas Cranach the Elder The Lamentation, with the Two Thieves Crucified 1515 oil on panel Museum of Fine Arts, Boston |
"Cassetta Frame – In Italian, cassetta means "little box." This framing style, one of Italy's most popular in the sixteenth and seventeenth centuries, evolved from the Tabernacle Frame. The style may have first been seen in Venice in the early sixteenth century. The cassetta is inspired by the entablature of the tabernacle frame. This section is extended down each side and across the bottom to form a simple box with a raised sight edge and back edge. This style gained popularity when a frame with less religious influence was needed for secular paintings, such as portraits, that could be displayed in private residences. In its simplest form, this style was constructed with plain moldings out of walnut or other woods."
– D. Gene Karraker, Looking at European Frames (Getty Museum, 2009)
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| Parmigianino Vision of St Jerome with Madonna and Child and St John the Baptist 1526-27 oil on panel National Gallery, London |
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| Jan van Scorel Triptych Entry into Jerusalem flanked by Saints and Donors 1526 oil on panels Centraal Museum, Utrecht |
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| François Perrier Polyphemus and Sea Nymphs ca. 1620-40 oil on canvas Samek Art Gallery, Bucknell University, Lewisburg, Pennsylvania |
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| Margaretha de Heer Insects with Landscape before 1665 watercolor on vellum Nationalmuseum, Stockholm |
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| Claude Vignon Moses with the Tablets of the Law before 1670 oil on canvas Nationalmuseum, Stockholm |
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| Louis Licherie Abigail bringing Gifts to David 1679 oil on canvas École Nationale Supérieure des Beaux-Arts, Paris |
"Salvator Rosa Frame – A framing style, best known for its richness, symmetry, and classicism, dating from the late seventeenth century but used throughout the nineteenth century. The style is named after the Italian artist Salvator Rosa (1615-1673), but has little connection to his work. This was the most popular frame used to support artwork purchased by the British on the Grand Tour and was reinterpreted in Britain as the Carlo Maratta Frame. The basic profile has a hollow section on the back edge with a convex top rail. The molding has been compared to the cross section of the base of a Doric column. . . . The Salvator Rosa frame was very popular in Italy, especially in Rome between 1680 and 1750. It became the house framing style when the great papal collections were reframed en masse in the eighteenth century. In its simplest version, it was cheap to produce."
– D. Gene Karraker, Looking at European Frames (Getty Museum, 2009)
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| Alessandro Magnasco Worshipers at a Shrine before 1749 oil on canvas Museum of Fine Arts, Houston |
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| Hjalmar Sandberg Motif from Vichy ca. 1877-79 oil on canvas Nationalmuseum, Stockholm |
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| Anna Wengberg Haystacks in Åland 1888 oil on canvas, mounted on panel Nationalmuseum, Stockholm |
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| John Haberle The Slate ca. 1895 oil on canvas Museum of Fine Arts, Boston |
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| Kurt Schwitters (Relief in Relief) ca. 1942-45 oil paint on wood and plaster Tate Gallery |
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| Lucio Fontana Spatial Concept 1949-50 pierced canvas Tate Gallery |