The word "COMPO" is an abbreviation for the word "COMPOsition" which, in our use of the word, merely means a mixture of various materials. While still a "mysterious" material to the general public, compo is widely used to create decorative ornaments for picture frames, furniture, and other ornamental objects.

During opulent periods of earlier cultures, compo decorations were found in many places ranging from huge decorative additions applied to the outside of buildings to interior wall and ceiling decorations in the home. As compo formulations evolved, compo ornaments replaced many expensive hand-crafted wooden carvings in areas such as on furniture, picture frames and moldings (Brit: mouldings), antiques, and many other decorative applications.

There are several different successful formulations of compo in use today. There are "exterior" and "interior" formulations. The exterior types of formulas are designed to withstand the ravages of weather and were basically used on the outside of buildings and other outdoor applications. Today endless varieties of building designs were influenced by and copied from early architectural designs such as the Greek Orders of Doric, Ionic, and Corinthian periods.

Another very rich architectural period was the Western European use of the Gothic designs originating in France about the 12th century extending to the 16th century. After the medieval period came the Renaissance architecture originating in 15th century Italy, which greatly influenced today's designs. Many of us are familiar with the open construction of the high pointed arches, ribbed vaulting, and flying buttresses used in the designs of some of our modern buildings today. From these influential periods came many of the designs we enjoy today such as: wall brackets, corbels, support columns, vase-like urns, projecting pilasters, terminal finials, crowning cornices, fancy frieze bands, rail supporting balustrades, and many more.

One old-time "interior" compo formula made use of plaster and binding fibers such as horsehair in early home construction. Have you ever had, or known someone that had, occasion to remodel an older home with early "lath-and-plaster" walls embellished with beautiful wall and ceiling decorations? Did you notice the horsehair in the plaster? You would often find decorative work in ceiling rosettes around light fixtures, cornices, wall and ceiling panels, and other areas. Very often, this type of interior compo was used on a wall. The wall was first prepared with a covering of canvas or muslin. Then ornamentation was applied using hot animal glue and brads to give the ornaments a more secure bond. You may still see such beautiful craftsmanship in many homes particularly those of the old Victorian period. Craftsmen with these talents were highly sought-after in this early period, and truly still are today.

The architectural designs of the past have also greatly influenced the decorative ornamentation we use today in our picture frames, furniture, and other decorative items. It was from these early periods that many time-honored designs evolved including: rosettes, shields, vases, beads, spandrels, bands, stems, pearls, honeysuckles, crestings, lamb's tongues, ribbons, drops, darts, leaves, wreaths, festoons, and a myriad of others.

In the "olden days," the interior compo formulas were often a "pulp-and-putty" mixture. Pressing of ornamentation was mostly done with hand-carved wooden molds. This was long before a mold known in the trade today as the "Burgundy Pitch" mold became popular. Today there are still wooden molds in use, but these are probably kept as "master molds" and used only to make duplicate "working" molds which are expendable, such as the "Burgundy Pitch" mold. This formulation is fully described in the book "Step By Step Compo and Mold Making" ISBN:0963238752.

While some early decorative picture frames were molded with plaster, most likely the ornamentation was covered with several layers of gesso over the compo ornamentation. Compo ornamentation was often mistaken for "plaster" because of that gesso coating. But when a frame felt exceptionally heavy, chances are that it was molded using plaster and not compo.

The compo mixture is easily pressed into molds and holds a shape very well once it is cured. In the cured or hardened dry state, compo may be finished to resemble almost any species of wood, or may be given a lustrous metal or gold leaf finish. Compo can be painted, stained, or finished in a variety and unlimited number of ways. Its versatility is limited only by your imagination. It's a great product.

Compo, as we know it today, has become a very useful product. Its formulation remained within a small circle of Old World businessmen. It was only a question of time before the formula found its way into Western European countries such as Belgium, Holland, France, England, and eventually into the United States, Canada, and Mexico. Today compo formulation is spreading, and is also known and produced in several Far Eastern countries, South America, and Australia, literally worldwide.

To this day there are several different successful variations of the basic formulations of compo in use. But still, while there may be minor modifications in the ingredients, quantities, and in the techniques for combining these ingredients, these formulas all tend to use the same basic materials. One basic formula and the proper sequential mixing instructions is fully described in our compo book.

Our early compo craftsmen have almost faded away. Today you see only a handful of companies mass-producing compo ornamentation mostly for sale to the trade. This has essentially restricted the spread of the knowledge and formulation of compo to these few companies. They are still keeping what we call "The Best Known Secret." But, there is beginning a healthy revival of interest in our day by many individual picture framers, antique restoration shops, and others, to perpetuate this wonderful craft and art form. Until now, this revival has been limited to very few individuals fortunate enough to have been introduced to the compo process. While this is a start, there are not nearly enough craftspeople and artisans entering this field. It is our focus to help spread the knowledge of this old beautiful craft and art form for the enjoyment of future generations.

We hope you enjoyed this free brief article on the "History of Compo."

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