COLOR IN NATURE AND ART. 



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 tc 

 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, [palixandrc), ov yvood painted gray or black. 

 Oil-paintings, in 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. Papers of a 

 deep green, and even of a deep blue, may hkewise be advantageously employed in 

 many cases. We know one artist, whose drawing-room wall, covered with oil-paint- 

 ings 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 eft'ect is very good. 

 Had it been a picture-gallery, the paper would have been unquestionably 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 detri- 

 ment to the eft'ect 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 coming to the furniture 

 of our dwellings, it must be confessed that, so innumerable are the possible comltinn- 

 tions 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 har- 

 mony should be not of contrast, but of analogy ; in other words, the furniture of small 

 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, &c., may be employed in the 

 decorating of large rooms ; whereas, chintzes are only suitable to small rooms, such as 

 cabinets, boudoirs, &c. 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 diminish 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 saj^ that in consequence of an apartment never being too light, since we can 

 diminish the day-light by means of blinds and curtains, it is best that the hangings be 

 of a light and not of a dark color, so that they may reflect light rather than absorb it. 

 Dark hangings, therefore, are proscribed, whatever be their color. Pied curtains are to 

 be met with very frequently in this country ; yet it must be said that red and violet, 

 even in their light tones, ought to be proscribed, because they are exceedingly unfa- 

 vorable to the color of the skin. Orange can never be much employed, it fatigues the 

 eye so much by its intensity ; and indeed, among the simple colors there is scarcely 

 any which are advantageous, except yellow, and the light tones of green and blue, 

 ow is lively, and combines well with mahogany furniture, but not generally with 

 g. Light-green is favorable, both to gilding and to mahogany, and also to com 



fOL. V. c 3 



