February, 1910 
HOUSE AND GARDEN 
73 
often happens that a black or a dark brown frame will greatly 
heighten the brilliance of some tones. Another thing that 
requires caution is the selection of a frame that belongs to some 
particular period of decoration. One must study the differ¬ 
ent styles carefully before he attempts to make use of a frame of 
strongly individual design. In spite of our familiarity with the 
different French periods, for example, there are to be found not 
a few who make the mistake of placing some masterpiece of the 
style of Louis Quinze in an Empire frame. 
All pictures should lie close to the wall and should not be 
tilted forward, as in the latter case a disquieting effect is the result. 
Whenever it is possible pictures should be fastened to the wall 
and not be suspended from the molding by wire or cord. Some 
paintings, however, have such a ponderous appearance, and are 
so heavy in fact, that it is better to hang them from the molding. 
In this case the wire should be as unobtrusive as possible. A 
better effect will be gained by fastening a wire at each end of the 
frame and carrying them straight to the molding, as the acute 
angle formed by one wire will not harmonize with the vertical 
lines of the room. The two wires also keep the frame straight. 
The lines and tones of the wall should 
also be carefully studied before there is 
any tentative grouping, and the pictures 
separated in reference to their partic¬ 
ular environment. Every picture should 
be chosen as a factor in the general 
composition, in its relation not only to 
the wall but to that of the furniture, floor 
covering and ornaments A dainty stip¬ 
ple print, for instance, is decidedly out of 
place in a room filled with heavy Mission 
furniture and Navajo rugs, as is a drawing 
of Aubrey Beardsley in the vicinity of an 
Empire cabinet. 
A good way to try different group- 
i t. E a c h w a 11 
space should be 
studied as the 
painter studies his 
canvas in order to 
obtain a well bal¬ 
anced composition. 
The spacing be¬ 
tween the different 
pictures can be 
decided upon be¬ 
fore the pictures 
are put on the 
wall. Small pic¬ 
tures should be 
placed closely to¬ 
gether as they 
appear very trifling 
when wide spaces 
intervene. If the 
This artist’s studio shows an unusual method 
of framing sketches by the woodwork 
Mats should be wider than the frames and 
not contrasting in tone with the back¬ 
ground 
ings is to lay the pic¬ 
tures chosen for a certain 
room on the floor, where 
different combinations 
can be tried until e x actly 
the right balance is 
gained. By this plan 
one will not only save 
a great deal of time 
and patience but the 
wall paper also. Usu¬ 
ally the most important 
picture, not always the 
largest, should occupy 
the center and should 
be the keynote of the 
group, as one’s natural 
instinct is to look at the 
middle of the wall for 
some satisfying ornamen¬ 
tation. The other pic¬ 
tures should radiate from 
this focus point and the 
proportion of the group¬ 
ing should be based on 
instance, and many 
higher than others 
A better grouping would result if the lower left- 
hand picture were lowered a trifle or the oval 
raised 
detail of a small picture is lost in hang¬ 
ing, it is better to eliminate it altogether, 
for its meaning is gone. It must be 
borne in mind that dignity and repose 
will be unattainable if there are any petty 
ornaments on the wall or in close prox¬ 
imity. 
The general rule is to so hang a pic¬ 
ture that its center comes within easy 
range of the eye, and whenever possible 
the wall space of a room should present a 
unity of proportion in this regard. Often a 
mantel or a piece of furniture will compel 
one to place a picture a little higher, but 
this seldom creates a poor effect. Pic¬ 
tures representing an Ascension, for 
religious subjects, can be placed a trifle 
as this emphasizes the idea of worship 
intended by the artist. Landscapes showing mountain scenery 
can also be effectively handled in this way. Interior scenes 
can be placed a little lower than others, as they are better 
appreciated when one is seated, and are then on a level with 
the eye. When the pictures are nearly of a size the spaces 
between them should be equal. The space usually occupied by 
a mirror over a mantelpiece can be happily filled by a large 
picture, particularly by an oval one. If a long horizontal 
picture is used it should always be a trifle shorter than the width 
of the mantel Oval pictures are often satisfactorily placed against 
certain striped papers and a particularly striking effect can be 
gained by a sparing and skilful use of them. Colored prints should 
not be placed near oil paintings as the difference of treatment 
destroys the effect of both kinds of pictures. 
Some who are clever enough in arranging pictures, frequently 
make grievous mistakes in grouping them in relation to the furni¬ 
ture and bric-a-brac. In New York we find a house in which the 
owner had gained an unusually graceful and dignified effect by 
his skilful grouping of some fine carbon copies of Velasquez’s 
Infantas. His labor was set at nought, however, when for some 
reason he allowed his rooms to accumulate with framed cards 
bearing the trite and wearisome maxims of the day. 
(Continued on page x) 
