Mrs. Lofty, who never has to stop to count the cost, loses the valuable art education which our housewife all unconsciously acquires in the months which necessarily pass between her picture purchases—months in which she has time to discover new beauties, fresh interest, deeper meaning, in those she already has. All these new impressions she carries with her to the selection of her next treasure, and the result will probably be a choice of greater artistic merit than she would have been capable of making before. So long as there is something in a picture which impresses her, the fact that she does not fully understand its underlying meaning need be no obstacle to its purchase; the light of comprehension will come.
THE INFLUENCE OF PICTURES
The picturing of the home should be undertaken in no light humor, for better no pictures at all than poor ones. Little, trivial, meaningless nothings are like small talk—uninspiring and devitalizing—and therefore unprofitable; battle and other exciting scenes wear on the nerves; the constant presence of many persons is tiring in pictures as well as out; small figures and fine detail which cannot be distinguished across the room cause visual cramp; and the rearing horse which keeps one longing for the rockers cannot be called reposeful. Any picture in which one seeks in vain the rest and peace and quietude and inspiration which the home harmony demands, is but a travesty of art—domestically speaking. There is probably nothing more rest-giving than the marine view, and next come the pretty pastoral and cool woodland scenes, while madonnas and other pictures of religious significance express their own worth—just a few choice, well-selected photographs, etchings, and engravings of agreeable subjects, with a painting or two; that's all we want.
OIL PAINTINGS
Really fine oils are costly, and no house can stand more than one or two at most, because of the impossibility of giving them the correct lighting and the distance they require, without which their best effect is lost. Properly, an oil painting should be given a wall or even a whole room to itself, as water colors and colored prints seem colorless, and black-and-whites cold, by comparison. The deep gold frame is its best setting. Gold frames and mats are usually effective on colored pictures of any kind in bringing out certain colors, dark ones especially, though artists are growing to use wood frames filled to harmonize with and throw into relief some one tone in the picture, the mat taking the same color. Gilt has no place on photographs, etchings, or engravings, their simple, flat frames of oak, birch, sycamore, etc., with their mats, if mats are used, toning with the gray, brown, or black of the picture. Fantastically carved and decorated frames are things of the past, both frame and mat being now essentially a part of the picture and blending with it, while setting it off to the best advantage. Passepartout is an inexpensive substitute for framing, particularly of small pictures, and is effectively employed with a properly colored mat and binding. White mats are still in occasional use for water colors and for black-and-whites, but for photographs we find a more grateful warmth in following the tone of the picture.
ENGRAVINGS AND PHOTOGRAPHS
Engravings and photogravures most satisfactorily reproduce paintings, as hand work always has more life than the photographic copy. All reproductions, however, bring the works of world-famous artists within our reach, and enable us to be on intimate terms with the animals of Rosa Bonheur, the peasants of Millet, the portraits of Rembrandt, Rubens, Van Dyck, Sargent, and Gainsborough, the landscapes of Corot, Daubigny, Dupre, and Turner, and the madonnas of Raphael, Botticelli, Bodenhauser, and Correggio. Amateur photography, with its soft pastel effects in black, green, white, red, and gray, is making rapid strides and doing much to advance the cause of art in the home. The hand-colored photograph is acceptable if the coloring is true and rightly applied, while certain charming colored French prints, so like water colors as to be hardly distinguishable from them, have distinct worth. Then there are the reproductions of our present-day illustrators, in both black-and-white and colors, and in which we seem to have a personal interest. Originals are always costly and hard to get, the exception being the obscure but worthy artist whose fame and fortune are yet to be won. The carved Florentine frame is a valuable setting for certain colored heads or painted medallions.
SUITABILITY OF SUBJECTS
Although any good picture may be hung with propriety in almost any of the first-floor rooms, heads of authors and pictures having historic and literary significance seem especially suggestive of the library; musicians and musical subjects of the music room, or wherever one's musical instruments may be; dignified subjects, such as cathedrals, with the game and animal pictures which used to hang in the dining room, of the hall; while we now picture our dining room with pretty landscapes or anything else cheery and attractive. Family portraits, if we must have them, hang better in one's own room, but really their room is better than their company, as a rule.