The Wellington enterprise. [volume] (Wellington, Ohio) 1899-1900, 1899-06-14
HOW To ERAME A PICTURE.
Mnst be Carefully studied, and Over
Decoration Avoided - Old styles
Thought HIdeOus Now.

NONe
Hints as to the framing of pictures
are in place every few years. Taste de-
velops, and the frames that were in
general use 25 years ago are now re-
iected as hideous.
Heavy black walnut holdings were
then used for charcoal and crayon
drawings at all exhibitions. Nothing
else was thought Of, and any rebellion
against the tradition of the framer
was fraught with peril to the artist
Now such frames are only attic lum-
her.
The aim of framing is not to exhibit
the frame, but the picture; to make
the picture look its best. Hence Gny-
thing that calls off the attention from
the picture to the frame should be
avoided.
A good oil painting deserves a rich,
elaborate frame. The bright gold Of
the frame only sets off and becomes
the color of the painting. If placed in
a shadow or shelter box, the lining of
the box should be in harmony with the
gold frame of some unobtrusive color,
like olive or old gold, but never of glar-
ing crimson plush.
Water colors should be framed after
a more simple fashion, and etchings or
engravings more simply yet. Water
colors of the simple Dutch school,
which have almost as much depth Of
color as an oil painting, can be treated
more like oil paintings. Gold mats and
rich frames may only enhance their
beauty, but light water colors, espe-
cially those where body color is not
used, require light mats of rough pa
per, white or cream; and cream white.
white and gold, or very simple gold
frames.
A water color, in distinction from an
oil painting, requires a mat to bring
out its color. and glass for protec-
tion. This glass should be fawless,
clear mot green, and, with the mat
intervening, il cannot touch or injure
the face of the picture.
Thick paper should be placed under
the back boards of the frame to pre-
vent the wood from staining the pic
ture from behind, and paper should be
pasted over the back of the frame to
keep out dust.
In the choice of mats remember that
cream tints turn several shades darker
in the course of a year or two, but they
are more generally becoming than the
blue-white. Still, some delicate paint
ings cannot bear the cream tint. so il
is well to test the different shades OF
white with the picture in hand.
The complexion of water color
should be studied in the choice of a
mat as truly as that of bride in the
selection Of the right shade of white
for her wedding gown. This is also
true of etchings and engravngs.
An etching should be framed as care.
fully. neatly and becomingly as wa.
fer color, for etchings. like women. are
kittle cattle and their idiosyncrasies
should be humored. Light natural
woodstock, ash, chestnut, cherry OF
holly-well made in a simple style. are
suitable for most etchings. Bronze
gold. white and gold and cream-whitt
frames are also suitable for etchings
Landscapes require simple frames
figure pictures can bear something
more dressy and single head require,
the most elaborate frame of the three
but in each case the danger is in over
decoration.
An old engraving or etching ma,
look well in black frame, but blacl
must be used judiciously.
Woods like oak or chestnut gilded
but showing the natural grain ant
made up in a fat, plain molding, ar,
admirable for frames and are more
suitable than overwrought gilt mold
| ing.-Collector and Art Critic.