The Washington weekly post., 1899-05-09
HOW TO FRAME A PICTURE.
Taste In This Matter Undergoes Change
Every Few Years.

| From the Critic and Art Collector
! Hints as 10 the framing OF pictures are
in place every few years. Taste deveiops.
and frames that were in general use
twenty-five years ago are now rejected
as hideous. Heavy back walnut mold
ings were then used for charcoal and
crayOn drawings at all exhibitions Moth
Ing 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 lumber. The
aim of framing is not TO exhibit tie
frame, but the picture, 10 make the pic
| ture look its best. Hence anything that
calls OFF the attention from the picture
/ TO the frame should be avoided The
frame must become the picture, be subOy-
I dinate to the picture and be Well made
and strong enough 10 hold the picture.
/ a good oil-painting deserves a rich, eiab-
crate frame The bright gold Of the frame
only sets off and becomes the color of the
/ painting. If placed IN a shadow or She
/ ter box, the lining of the box should b.
| in harmony with the gold frame, of some
4 uEObtrusve color, like olive or old-g0ld.
| but never of glaring crimson plush Wa
ter-colors should be framed after a more
simple fashion, and etching or engTaV-
l lngS more simply yet MdteT-COlOTs OF
4 the popular Dutch school. which have al
most 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, especially those where body
/ color is not used, require light mats or
rough paper. white or cream; and cream
white. white and gold. or very simple gold
| frames.
| A water-color. In distinction from an
/ oll-palntlng, requires mat 10 bring out
] its color and glass for protection. This
glass should be fldWleSS clear mot green;
and, with the mat intervening, it cannot
| touch or injure the face of the picture
Thick paper should be placed under the
| back boards of the frame TO prevent the
wood from staining the picture from be
hind, and paper should be pasted over
| the back of the frame 10 keep out dust.
| In the choice Of mats, remember that
cream tints turn several shades darker
| in the course of 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 a Water-colOr should be studied In the
choice of a mat as truly as that of a
| bride in the selection Of the right shade
OF white for her wedding gown. This Is
also true of etchings and engravings. An
etching should be framed as carefully.
neatly, and becOmingly as a water-c0lor;
for etchings, like women, are kittle cat
tie, and their idiOsynCTasies should be
humored. Light natural woOdOak. ash
chestnut, cherry, or hOlly-well made. In
a simple style, are suitable for most etch-
| ings. They are unpTetendinSt unObJec-
| tiOnabIe, and do not distract the attention
| from the picture. which is the point OF
attention, not the frame. Bronze, gold,
white and gold, and cTeamwk'te frames
are also suitable for etchings Land
| scapes require simple frames; figure pic
lures can bear something more dressy.
and a single head requires the most eiab-
| orate frame of the three: but in each case
the danger is in Overdecorstion. An old
engraving or etching may look well in
| black frame. but black must be used iu-
diciously. Woods, like oak or chestnut.
eilded. but showing the natural grain.
and made Up IN fiat. plain molding. are
admirable for frames, ana are more SUIT
| ahIe than ogerwrought gilt m0ding.