The evening times., 1897-12-25
PRETTY FRAMES
FOR PICTURES
How to Display Oil and Water
Colors to Advantage.
Against Dark Backgrounds Most
Paintings Require Gray or
Gray Blue Mats.

In these days OF general art study. few
housekeepers are without some friend who
| belongs t. TIE strCent ranks, and who re-
CARDS the gift Of a sketch as a efficient
recognition of hospitality The artist is
right ana the recipient of the sketch h
usually thinks So. In the inexpensive % It
attractive framing OF pictures these hints
may lac found useful
Water-colo sketches OF landscapes in
deiicate tones. flowers Of soft o1lor ..nd
marine subjects are generally most suit
ably Inorntcd-when the wall paper is hight
as it is i'll nine cases out Of ,en-wi.h
white mats in simple, fiat. gilt frames.
On dark ground it is Usually better to
select gray or gra blue mat. as tie white
makes too yiolrnt con ntrast.
Eher the drawing is ip deep and intense
tones gilt mat is often desirable to bring
out the richness Of color. A wood interior.
for instarce, Of d flower study with good
deal of red fu il, looks best with the gilt
mount. This mount should always be of
the best quality, as cheap gold mlJ ar
nishes quickly and its ,itiflness enfeebles :: re
strong tones OF the picture.
The mat should form a broad margin
which tends to isolate thu picture AMI thus
enables one TO see 1t as a thing apa II and
not as {. meie variation in Tire wall ptpcr.
1t S best u USE a beveiied mat as the Glass
should not CO rcin contact with the ptci ire.
The frame should b. az marrow as possible
as massive one viii alniost destroy the
effects OF = delicate aquarcile.
An cal nsoiGirg frequently makes an
effective fisne, heiiis sUInewhaI suft-r
than gold. yet with considerable yelto1
in II. White is rarely Desirable. sou.-
tines. however, brilliant sunny WI ;.r-
color, with marked preponderance ..r
blne. may tie matte ed and framed in white.
and viii make a charming bit OF llum;nt-
ton for dark corner. where ii recei-rs
no direct light srnu the W indow.
Black is never to lie used i'm rr iruing
water-colors. as Ii oeaders them completely,
would rob the sunniest drawing OF its
vitality. 1t should rot he used often,
even for engravinrs, with which it is
sometimes Permissible. An oil painting
in strong 2olor, however. may lie rem
dered douhly effective by deep black
frame. Before deciding on tlack never
theless. be sure that you are right Il
10 aoe iAtosC suittu W tue average OIL
than it is Z" the water r-color. Eng.ay-
ings ard etchings may be rrame.l in
wide, flat francs OF oak or chestnut
II the wall paper he very light and char
acterless the ehunized frame may be used
with adva1tage. and also ir the back ground
is in any intense color. such as glowing red
or brilliant blue. One room hung in deep,
rich blue with window draperies and por-
there's of tiUe plush and blue effects in the
furniture, had the Paintings, some or
which Were oil end some water color draw
fngs. all framed either IN gold or in ebony
The effect was striSingly artistic, but the
experiment would have been ,,erilous one
for person not absolutely certain or her
taste and her resources. The designer In
this case was the daughter OF an Italian
sculptor. and ier whole life had been
passed In an atmosphere OF thigh art
The last Year or two has brought a
welcome departure in the framing of black
and white etcninzs. photographs and en-
cravings. The new style grew out OF the
greatsuccess Of the platinum photogra phs
OF the mural paintings in the Boston and
libraries. These being neces
sarily reproduced in sections-that is, in
single figures or groups-it seemed de-
sirable to have the Continuity of subject
preserved in framing, and tte Old "trip
tych" idea was adopted, with suitable
variations and extension, SO that seven or
eight of the photographs ma y be inclosed in
one wide frame, divided.0nly by the narrow
strips ccnfining the Sazter edges. The
style is distinctly architectural, suggesting
the purpose of the pictures as mural decora.
tions. These frames ans all made II oak,
deeply stained into dun black or green,
with delicate plaster ornamental ion, some
times lightly touched with gold.
The authoritative rule about hanging oil
and water-color paintings in the same com
Is, Never do 1t! but. like all other rules, 1t
has its exceptions, as int he Eoom mentioned
above. A less rigorous rule, which ,on-
veys the necessary hint, III, Do not mix
the two. The divisions Of wall space
always lend themselves to q judicious
separation. Mass the water-colors ON the
large spaces. leaving the srpalier ones-on
each side of The fireplace, perhap ps-ror
the one or two oils of which you may be
the fortunate possessor. II the pictures
be principally engravings or etchIags
follow the same rule; give the isolated and
distinctive place to the single important
picture.
final rule, indeed an initial aad invaria-
Die rule, is. Never frame or hang anything
not really good.