NATURAL PHILOSOPHY. 167 



of the picture. For black engravings and lithographs, gilt frames suit per- 

 fectly, provided a certain breadth of white paper be left round the subject, 

 frames of yellow wood, such as bird's-eye maple, etc., likewise accord well 

 with lithographs ; and it is possible greatly to modify the appearance of tho 

 drawing by mounting it on tinted paper, when we do not desire the effect of 

 a white margin. 



As to the hanging of pictures in a room, we only repeat the general canon- 

 when we say that engravings and plain lithographs should not be placed 

 beside oil-paintings or colored drawings. When we wish to place pictures 

 upon a papered wall, the latter ought to be of a single color, if possible if 

 not, of two tones of the same color, and with a simple pattern. Also, the 

 dominant color of the paper-hangings ought to be complementary to the 

 dominant color of the picture. Pearl-gray, or normal-gray a little deeper, is 

 a good tint to receive engravings and plain lithographs in gilt or yellow 

 wood frames. Yellow hangings can, receive with advantage landscapes in 

 which greensward, and leaves, and a blue sky predominate ; and the most 

 suitable frames in this case are those of violet-colored ebony (palixandre) or 

 wood painted gray or black. Oil-paintings, hi gilt frames, are effective on 

 walls of olive-gray ; upon which ground the flesh-colors of the picture, and 

 the gold of the frame, assort well. Paper of a deep green, and even of a 

 deep blue, may likewise be advantageously employed in many cases. "We 

 know one artist, whose drawing-room wall, covered with oil-paintings in gilt 

 frames, has a flock-paper of deep green, the velvet pattern being of nearly 

 equal extent with the smooth ground, but of a darker shade. The effect is 

 very good. Had it been a picture-gallery, the paper would have been un- 

 questionably better if of a perfectly uniform color ; but, by having it patterned, 

 and of two shades of the same color, the requirements of a drawing-room are 

 answered with the least possible detriment to the effect of the pictures. 



So much for the mechanical accessories of the Fine Arts, whether these be 

 exhibited in a noble gallery, or in the houses of our middle-classes. In com- 

 ing to the furniture of our dwellings, it must be confessed that, so innumera- 

 ble are the possible combinations of color, it is impossible to lay down many 

 laws of general application. In large rooms, bright, contrasting colors may 

 be employed ; whereas, in small rooms, the harmony should be not of con- 

 trast, but of analogy ; in other words, the furniture of smah 1 rooms should in 

 general have but one predominant color, and the contrasts exhibited be only 

 those of tone. On this principle, hangings, with varied and brilliant colors, 

 representing flowers, birds, human figures, landscapes, etc., may be employed 

 in the decorating of large rooms ; whereas, chintzes are only suitable to small 

 rooms, such as cabinets, boudoirs, etc. In bed-rooms, the window-curtains 

 and those of the bed should be similar ; and, if there be a divan, it may be 

 similar also ; for, we may remark, that it is conformable with the object of 

 boudoirs and similar places, to dimmish their extent to the eye, by employing 

 only one material for the hangings and chairs, instead of seeking to fix the eye 

 upon many separate objects. 



Of hangings and our remarks are almost equally applicable to the general 

 tone of a room we may say that in consequence of an apartment never 



