New-York tribune., 1909-09-10
IN FRAMING PICTURES.
Harmony of Line and Character Should Be
Considered

In the average home the pictures on the walls
selected with and intention; like
Topsy, the collection "'ies srowed." Some people
who exert plenty of choice in other matters seem
70 hang up anything that comes along In the way
of pictures-like the undertaker's wife who COW
cred parlor walls with photographs of the peo-
pie her husband had buried. But that collection
had certain unity, anyhow; some have none at all
oil paintings. water coors, etchings. engravings and
Japanese prints being hung together in maddenins
confusion.
1t is hard to manage a heterogeneous assortment
of pictures but by exercising certain amount
of harmony may be secured with even the most
contradictory lot. II there two oil paintings
don't hang them opposite ends of the house: put
them together. particularly II they similar in
treatment and style.
The way the pictures framed has an immense
deal 70 do with the effect. Period pictures should
have period frames says Frank Alvah Parsons, di-
of the New York Art School. in an interview
In Good Housekeeping" for September. And tho
frame and the pictures should be OF the same
period. which isn't always the case In almost
any wealthy house." says Mr.. Parsons zone can gee
French pictures in Florentine frames, old Italian
masters in Louis XIV frames. rococo frames around
simple Colonial maidens. and. mixed atrocities
around other pictures"
When picture is not a period picture. its color
size action. ETC. must studied. and the frame
chosen with reference to these Pictures showing
large objects vivid colors lively action. require
wide, deep frames Rosa Bonheurs Horse Fair
would look silly in narrow little frame Quiet
pictures take inconspicuous frames. Many an oil
painting that has elaborate gilt frame shouting
around ii would look better In a frame of wood
stained 4 color that harmonizes with tho tones
Of the picture Every picture has its special color
like every There some people who
look stunning in blue. will look positively hide
ous in red" says Mr.. Parsons. Others appear 90
best advantage in browns. In the same way pct-
frames must harmonize with the pictures they
inclose or the picture appears TO bad advantage
Just the complexion OF individual dictates
the color Of the clothes that the individual shall
the color of the picture indicates the tone
, OF the frame that it needs. Harmony may be Sc
cured by making the tone OF the frame fit the dark
general in the picture. This does not nee
ossarilv mean the darkest tone. hut the darkest
tone that Is general The color OF the frame should
be more neutral than tho picture mass.
Mats losing favor somewhat and many
prints water colors and photographs look better
without them. When a mat is used 1t should be
OF size color and texture 20 make easy transi-
ton from the picture TO the frame and on to the
wall which is the background
The wall. the wall covering. rather. what
kills the pictures il many bouses. People who will
have intense figured wall coverings says MIR. Par
sons should keep trer pictures in portfolios. The
wall should be the unasscrtve background
ing more
l: is vcr2 essential have the shape Of the pict
ure uniform with the shape Of the wall space: n
picture that is longer than II rs broad should be
hung IN q space longer than 81 is broad Pictures
| must never he hung above the general eve level
OF people standing I'm the room. Speaking gen
orally they should be grouped with relation TO III.
central vertical axis OF the wall space they
adorn When several pictures are grouped in a
wall spare they must be near~ enough together 10
mako the group appear unit II the distance be-
tween two pictures Is greater than the width OF
either there Is q ''scattered'' efrect