Collection Online

The victory of faith
(c. 1890-1891)

oil on canvas
123.3 × 200.0 cm
Accession Number
International Painting
Credit Line
National Gallery of Victoria, Melbourne
Gift of an anonymous donor, 1905
Gallery location
19th Century European Paintings Gallery
Level 2, NGV International


St George HARE
The victory of faith (c. 1890-1891)
Chapman Bros.
251 King's Road,
London, S.W.

The frame is built up from a number of wooden sections stacked to create a hollow reverse, which has reduced the impact of dimensional changes in the wood. The hollow of the reverse is braced with blocks at the sides and across the corners. The outer frame carries a torus of imbricated oak leaves, acorns and ivy leaves, which is centred on all sides. The bevelled flat is a section of oak let into the outer frame and carries the third section – what would normally be a slip but is here intended to form the finished sight edge. The frame is gilded with gold leaf, the torus is matte (oil gilded) but the cross-banding and corner bands are burnished on a red bole. The sight-edge section is water gilded. The bevelled oak section is gilded direct to the wood, giving the grain texture to the leaf. This section is marked by drying cracks, which come from either the underlying gilding size or the overlaying finishing size. The gilded surfaces other than the bevel and the torus are brought to a high level of finish and though they are not burnished they present smooth shiny surfaces. The working edge is painted.


The frame is in good original condition despite the deterioration of the surface of the inner bevel.

161.5 x 238.0 x 14.0 cm; sight 120.5 x 197.0 cm
More information
National Portrait Gallery
St George HARE
The victory of faith (c. 1890-1891) St George HARE
The victory of faith (c. 1890-1891) (colourman stamp)

This beautifully crafted frame represents a style that was popular in various forms for most of the last two decades of the nineteenth century and the early years of the twentieth century. The basic form was used in variations by the Melbourne framer John Thallon, often as a profile for the work of Frederick McCubbin. See for instance the frame on McCubbin’s, A winter evening (61-2). The Chapman frame is more carefully crafted than the Melbourne variants and did not enter the collection early enough to be used as a model.