House and Garden 
Many of our leading Ameri¬ 
can artists to-day strongly ob¬ 
ject to bright Irames. Gold 
leaf is used in the finish, hut 
the surface is afterwards 
glazed over with oil or varnish 
mixed with pigment, and the 
indentures or crevices in the 
pattern are allowed to fill up 
more or less, so that an old or 
very subdued tone may be 
obtained. There may he a 
partial excuse for an ostenta¬ 
tious frame in the case of a 
very small hut valuable pic¬ 
ture, which can then he com¬ 
pared to a rare jewel in a costly 
setting. In the “Oriental 
Street,” by Addison T. Mil¬ 
lar, (reproduced here,) the 
numerous severe architectural 
lines of the picture require a 
frameof rich elaborate pattern. 
This has produced a harmonv 
by contrast. Of the numerous 
painters who design their own 
frames, there is a certain 
member of the Boston fraternity who is perhaps 
better known at present for these designs, than 
for his canvases, d he frames are of wood carved 
by hand, and then gilded over an under surface of 
red in imitation of old Italian and other antique 
specimens. d he leaf is rubbed through in places 
to allow the red to show, thus giving a rich anticjue 
tone. 1 his same method of gilding was introduced 
in New ddirk years ago by a certain gilder who had 
A LANDSCAPE BY WILLIAM K. PLIMPTON 
Deep frame of roughly sawed boards toned a dull bronze 
been associated with the famous Lembach firm of 
Munich. 
James McNeil Whistler, who obtained much of 
his knowledge of “picture making” from the Japa¬ 
nese, also followed their example in the choice of 
unobtrusive, almost severe ornamentation. The 
“ Wdiistler Patterns,” which for simplicity of line and 
ornament have rarel\' been excelled, were not, until 
quite recently, obtainable in this country. To-day, 
however, a large framing establish¬ 
ment on Vesey Street, New York City, 
carries several of these designs in 
stock. 1 hey are from two to eight 
inches wide when made up, are fin¬ 
ished in tones of bronze or in black, 
and are remarkably inexpensive. In 
the reproduction of a portrait by Wil¬ 
liam E. Plimpton, the “Whistler Pat¬ 
tern” of frame with its fiat surfaces 
and delicate fiuting, is not only in 
good keeping with, but even adds a 
sense of aristocratic dignity to, the 
picture. 
In the f raming of etchings, Wdiistler 
has said that the frame begins with 
the white mat. It necessarily follows 
that the outside pattern must be very 
simple. If the etching is light in tone, 
use a very narrow white moulding or 
passe-partout; if it is strong in blacks, 
A WATER-COLOR BY WALLER HARTSON, FRAMED CLOSE a dark natural wood or black frame 
46 
