HANGING PICTURES.

Stratford Evening Post, Volume XXXII, Issue 97, 24 April 1912, Page 7

HANGING PICTURES.

(Daily Chronicle.) There is scarcely a picture, painted, photographed, or “processed,” in any of its myriad forms, which is not helped or hindered immensely by framing, hanging, and environment. Yet, on getting into a new, .abode-, . the zealot with the hammer will pcrpct 7 rate lightning feats to get bis work of art “out of the way,” with those results we see with pain and horror, in the houses of some friends. In starting to arrange the .walls a picture-rail or not is the first question. Rails undoubtedly simplify the hanging of heavy pictures and save wallpaper, plastering, and distemper. On the other hand, strictly adhered to, difficulties are apt to arise with any smaller drawings or canvases to ho displayed beneath, as wire over wire rarely adjusts itself comfortably. A compromise between rail and nail methods is usually best, and in rooms only suitable for “cabinet” sizes, what may be called the “invisible” system from the onlooker’s point, indubitably triumphs. The invisibility is obtained by knocking in the nail well below the level of the top of the frame; the nail is concealed thus, and any wire or cord also. Rules to bs Kspl. By whatever method pictures are hung attention must be paid to getting the correct forward tilt. This is regulated by the position of the rings at the back. A picture flush with the wall loses half its charm., Large works, if necessary, must have one side of the room to themselves. And those of any considerable. size should, at least, lie accorded a centre and have precedence in placing. Whatever the pride of ownership, two rules ought to he rigorously kept. One, that no picture lie tolerated so big that the correct point of view is unattainable; second, that nothing so “impressionist” hut it can be easily “focussed*’ from the middle of the apartment." “Like with 1 ike 4 ’ is a safe guide to 'apply to oils and water-colours. Preferably they should not hang in the same room; certainly never on the same wall. Classification is more difficult in the matter of the'countless reproductions popular.* But even etchings, mezzotints, engravings, and photogravures may be harmonised if there is a judicious taste of framing. A scheme of brown, ehonised, green, or Indian red will unity much apparently irreconcilable, though every instruction must ho qualified by individual taste and tact. Fortunately, framing can please without being expensive. Broad gilded deal frames with, bevelled edges close to the picture, suit vigorous watercolours extremely well; while to the more ethereal drawings white mounts with a dainty gilt heading are becoming. Much ill-founded prejudice exists against the white mount on account of the mid-Victorian horrors, frequently surrounded by oval frames, which survive. One danger they possess—if the hacks are not absolutely intact with, stout brown paper, dust will filter in speedily, with lamentable and streaky effect. Less wealthy art-lovers can hardly hope to possess original figure subjects; most people, however, having a few pounds to expend, with judgment may acquire a landscape or seascape of merit. It is worth making the sacrifice of many reproductions to obtain one work from an artist’s brush, that is good and true. Even sketch-books often hold treasures that are a great source of joy if mounted, not ton smoothly, in harmonising tints. Finally, let nobody undervalue the distinction given by old print vignettes and antique miniatures. r i hose must never be allowed to “spot” the walls, but, should be disposed orderly in rows or clusters, near enough for close inspection. Anything in the way of family portraiture lias a claim to the chimney-piece position. In lines that are perpendicular nr horizontal, painted ivory medallions and silhouettes mav amiably mingle, always tbongo with this proviso—that the old does not jostle the new.