Keep the wall covering in subdued design or solid color, and balance 
the pictures for each wall space in a group 
Wall papers of strong contrast distract the eye from almost any type 
of pictures and are better without them 
The Art of Hanging Pictures 
SIMPLE PRINCIPLES GOVERNING THE FRAMING, BACKGROUNDS, GROUPING AND SELECTION 
OF PICTURES FOR THE WALLS OF THE HOME — WHAT TO SEEK AND WHAT TO AVOID 
by Sherril Schell 
Photographs by J. T. Beals, the author and others 
T H E most important factor in the decorative treatment of walls 
is the wall covering, for without the right kind of back¬ 
ground the most carefully thought out scheme of picture grouping 
will prove unavailing. Nothing can so dispel the harmony of an 
otherwise agreeable room as an unsuitable wall paper; the most 
enchanting pictures appeal in vain and only succeed in arousing 
one’s irritation if the walls are out of tune. The rooms we use 
most, particularly the living-room, should each have a paper 
whose values are closely related, that is a paper whose colors are 
not in violent contrast. Best of all is the covering of solid tint 
of some soft and restful color; this makes the happiest back¬ 
ground for all varieties of paintings, prints and photographs. 
Green and brown in their softer tones are invariably success¬ 
ful in this capacity, and harmonize readily with the best rugs and 
furniture. Brown is a gracious color on which to hang etchings, 
colored prints and photographs. Green makes a pleasing wall 
covering for oil paintings and water col¬ 
ors and greatly enhances the beauty of 
gold frames. Some of the new designs in 
wall paper are decorative enough in them¬ 
selves without the added embellishment of 
pictures. This variety of wall covering 
can be used to the best advantage in bed¬ 
rooms providing it is of restful pattern. 
A few pictures can now and then be ef¬ 
fectively placed against such a paper, 
but they should be large, simple in outline 
and bold in color, if they are to vie with 
their setting. 
As a rule it is better not to place any 
pictures on a patterned paper of florid 
design as it creates a confusion of line, and 
the effect of both pictures and paper is 
destroyed. First in the decorative scale 
should come the wall ornamentation, that 
is, as a rule, pictures. Then should follow after in regular grada¬ 
tion, furniture, walls, floor. When a paper of bold design is used, 
the background pushes itself into first place and the pictures 
take on an inferior and false relation in the scheme. 
Before there is any attempt at picture grouping it is always 
best to study each picture carefully to judge whether or not it is 
worth hanging. We Americans more than any other people have 
a tendency to overload our walls with such a quantity of 
pictures that our rooms often suggest the art shop rather than 
the home. People who travel a great deal err most often in this 
direction and their walls fairly groan with a multitude of souvenirs, 
mind-distracting and dust-collecting. 
The frame should be selected not only with consideration for 
its relation to the picture, but also its relation to the room. A 
frame may be in key with its picture, but its tone may be dis¬ 
cordant on certain backgrounds, or, if it is in tune with the 
background, its design may dissipate the 
harmonious grouping of the adjacent 
pictures. The frame should never be of 
too bright a color nor should it be very 
ornate in design as it will then distract the 
eye from its intended interest. 
Mats should always be wider than 
the frame. When two pictures contain¬ 
ing mats are hung together it is import¬ 
ant that the mats be of similar values and 
that they be not in contrasting tone to 
that of the background. Oval pictures 
often make uncongenial neighbors if they 
are of different proportions. Bright and 
dull gold frames should not be hung to¬ 
gether as both suffer by close juxtaposi¬ 
tion; one becomes dingy and the other 
garish by this arrangement. Gold frames 
are usually best for oil paintings, but it 
A satisfying grouping of two pictures with a 
mirror in a formal bedroom 
( 7 2 ) 
