I now require this of all pictures, that they domesticate me,
not that they dazzle me. Pictures must not be too picturesque.
Nothing astonishes men so much as common sense and plain dealing.
All great actions have been simple, and all great pictures
are.--_Ralph Waldo Emerson_
The decoration of a room is generally not complete without pictures.
There is, of course, great value in good pictures entirely aside
from their decorative effect; and too great care cannot be exercised
in their selection. But our present purpose is to consider them as
decorative features; for, though a decoration is not a picture,
pictures themselves are properly regarded as important elements in the
general scheme of decoration. And this is especially true as regards
matting and framing, the distribution of pictures upon the wall spaces,
and the method of hanging them.
_Importance of Space Relations._--A picture mat and frame are simply
elements of finish, and their function is to give the picture a certain
individuality and yet connect it harmoniously with the space in which
it hangs. In fact, the wall space is a part of the framing of the
picture. The importance of giving some study to the relations of all
the spaces involved is evident. The mat and the frame should not be of
equal width. Here is a fine opportunity to secure variety in spacing.
No definite rules can be given; sometimes the one, sometimes the other
should give way. Generally speaking, tall wall spaces require vertical
pictures, and spaces longer horizontally demand horizontal pictures.
But variation from this rule is possible and even necessary through the
grouping of several pictures. In grouping, however, there is danger
of being tempted to allow too many pictures. In the houses of the
well-to-do, and even in the homes of those of moderate means, too many
pictures, rather than too few, are often found. The example of one New
England home, known to the author, may be mentioned. The house is new,
of generous proportions, and it is the home of an artist. There are
few pictures on the walls, but they are distributed with rare artistic
effect. There are many good pictures stored in the attic because there
is no suitable space in which to hang them.
_The Japanese Way._--The Japanese have taught us many valuable lessons
in art, and in the matter of the number of pictures to be displayed
they have a very interesting lesson to teach. It is their practice
to hang a single choice picture for a season in a space where it may
be best enjoyed, and then after a time to replace it with another
picture, and this, perhaps, by another if circumstances permit. There
are many conditions that determine the selection of the picture to
be displayed. It may be the preference of a guest, or it may be the
season of the year, or, in fact, any occasion that may give a certain
picture special significance. There is, in this singular custom, a very
definite service which the picture is made to perform, and it is given
an individuality which perhaps has no parallel in our own practice.
_Grouping of Small, Simple Pictures._--If a considerable number of
pictures are grouped together, it is quite essential that all the
pictures of the group should be of similar character and tone and
similarly framed. It is hardly possible for them to be all of the same
size, nor, indeed, is such agreement desirable except in so far as is
required to give proper balance to the group. Small pictures in light
frames are, of course, the most desirable for such grouping, and if
possible there should be an evident reason for the grouping. A series
of photographs of a certain locality, for example, might form a group
of four or five or even more pictures so that they could be easily seen
together and so more thoroughly enjoyed. A collection of photographs
in passe-partout bindings, especially if they deal with subjects in
any way related, may form an attractive group. But pictures of any
considerable size or those having decided individuality are generally
not suited to any plan of grouping. They should appear by themselves,
in frames and other surroundings which accentuate their peculiar merits.
_The Kind of Frame._--The material of the frame, its colour, and the
colour of the mat are determined by the tone of the picture. Oil
paintings easily support gilt frames and should be hung in good light.
Pictures of light values with white mats are well finished in narrow
gilt frames. Carbon photographs and other pictures of dull tones, are
appropriately framed in wood of dark or medium colour, and appear
best when hung against a dark wall. The truth of these statements
will hardly be questioned by any one who has a good sense of colour
harmony. But there are many other elements that enter into a concrete
problem of picture framing that cannot be brought under general rules
or formulas. It is generally best to depend largely upon the tests
of trial. In framing and hanging pictures, as in many other things,
observation and experience are the best teachers. Some suggestions may
be found in the following record of two actual framing problems that
were satisfactorily solved.