The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1899-06-17

ings were then used for charcoal and cray
on drawings at all exhibitions. Nothing
else was thought of, and any rebellion
| against the tradition of the Trainer was
fraught with peril to the artist. Now
| such frames are only attic lumber. The
aim of framing is not to exhibit the
| frame, but the picture, to make the pic
| ture look it's best.
Hence. anything thai calls off the at
tention from the picture to the frame
should be avoided. The frame must be-
come the picture, but subordinate to the
picture, n be well made and strong
enough to held the picture. A good oil
painting deserves a rich, elaborate
| frame. The bright gold of the frame
only sets eff 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 glaring crimson plush.
Water colors should be framed after a
more simple fashion, and etchings or en-
cravings more simply yet. Water colors
| of the Dutch school, which have almost as
much depth of color as an oil painting,
car. be treated more like oil paintings.
| Gold mats and rich frames may Only en-
nance their beauty, but light water col
ors, especially those where body color is
not used, require cream, and cream-Whlte
wh:te and gold or very simple GOLD
frames.
A water color, in distinction from an
| oil painting, requires a mat to bring o@t
its color, and a glass for proteetlon.
| This glass should be f1awless, clear (not
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
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, put theV
are more generally becoming than the
blue white. Still, some delicate paintings
| cannot bear the cream tint; so it 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. rms
is also true of etchings and engravlnSs.
An etching should be framed as carefully
neatly and becomingly as a water color.
| Light natural wood-oak ash, chestnut,
cherry or holly-well made, in a simple
style. are suitable for most etchings. They
| are unpretending, unobjectionable, ana do
not distract the attention from the PIC
ture, which is the point of attention, not
the frame. Bronze. gold, white and goid
and cream white frames are also sultaple
for etci;i1lgs. Landscapes require Simple
frames; figure pictures can bear some
| thing more elaborate. and a single nead
requires the most elaborate frame OF the
three; but in each case the danger IS IN
| over-decoration. An old engraving or
etching may look well in a black frame
but black must be used judiciously. WOODS
like oak or chestnut, gilded, but showing
the natural grain, and made up in a nat,
plain molding, are admirable for frames,
and are more suitable than overwrought
gilt molding.
Growth focuses for a time upon one set
of organs or functions, then upon another,
until the whole body is developed; but all
parts of the body do not grow at once and
| the same time, says the Forum. Inc
body grows first in length. and then in
girth. in breadth and depth of chest, IN
breadth and height of forehead, III
breadth and length Of face.
To make a special application of this
well-known fact of periodicity in physical
growth, let us observe the development OF
the muscles of the arm. The muscles OF
the upper arm-those concerned IN the
| functioning of the shoulder-joint-are ripe
and ready for training at least a year
and one-half before the muscles OF the
| fingers. The muscles of the shoulder ma
ture for training six months before the
muscles of the elbow; and these. in turn
| five to eight months before the muscles
| of the wrist, which are ripe and ready Ior
training from three to six months peIore
the muscles of the fingers. When we IN
| sist that a child shall begin to write by
means of the finger-muscles only, with a
| small pencil, in narrow spaces on ruieo
paper or a slate, we run directly counter
to the principles of growth and develop
ment thai nature has so plainly written
in his constitution. Must not education.
| to be educational at all, be in accord with
| these principles, rather than in oppo-
| sition to them? The child of six years.
during the first days Of his school life,
chooses to make large, whole-arm move
ments, rather than the minute movements
Of the fnger-muscles. AT first, he requires
almost an acre VI pIdChUodlu space "A
which to write a few sentences. We must
train the large shoulder-muscles before
attempting to burden the tender, unde-
yeloped finger-muscles. which are really
injured by such too early strain and in
volved activity.
Thus We find in our best regulated
kindergartens Of today none of the finer
work for the younger children The young
child is no longer required to a k up the
bead-stringing and pin-pricking exercises
at least not until his eyes and his finger
muscles are ripe and ready for such train
ing. In some of the most modern kinder
gartens the occupations and gifts are con-
cerned with larger objects instead of those
formerly used, which were of the smaller,
more orthodox size-large blocks, larger
pencils, larger needles, larger beads, and
coarse string instead of fine thread.
Just a few days more, says the "Wom-
ans Home Companion" and so many of
you will dress your prettiest, smile your
sweetest, receive your honestly earned di-
ploma and start out determined to sbe
something" Whatever the something"
that you have determined to "'be.,' be it
at home first. Try it awhile on your
family and friends, and then work 1t out
on your enemies and the surrounding
towns; and If you haven't worn yourself
to a shadow and become heart-sick with