Part 4

The best example of this is the method in which etchings are framed. You seldom see an etching in anything but a half or three quarter inch flat, dark frame. If an etching were placed in a three inch gold frame, both would be out of place. Frames should always be subordinated to the painting. A blue and white seascape should be framed in a bluish gray frame, which may have a dark bronze moulding on the outer and inner edge. If painters want only one frame to show their work, let that one frame be of somber hue; otherwise it will detract from the painting.

Proper framing is really a scientific study. If the general tone of a picture be yellow, like a golden sunset, the complementary color would be a bluish green, and therefore a bluish green, with some gray in it, offset by a narrow metal colored moulding, would be the proper frame for a painting of that kind. Nothing is so hideous as brilliant gold on all the paintings in a room, and many a museum is spoiled through the glossy, inharmonious effects of the conglomerate masses of frames, which detract from the color value of a painting. A little care and study on this subject will frequently enhance the work in question.

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FOOTNOTES:

[1] _Materials for Permanent Painting_, by Maximilian Toch, published by D. Van Nostrand Company (1911), New York.

[2] Madder Lake and Alizarin Lake are the same, excepting in name.

[3] Zinnober is German for Vermilion.

[4] _Chemistry and Technology of Paints_, Maximilian Toch. D. Van Nostrand Company (1916); pp. 254-259.

[5] _Constant_ White is also sold under the name of _Permanent White_, or _Blanc Fixe_. It has very little hiding power when wet, but dries out perfectly opaque. It also possesses very little staining power, by which is meant that a very small quantity of some other tint will change its character much more readily than it will Zinc White.

[6] _Permanent White._

[7] _Lapis Lazuli._

[8] _Lapis Lazuli._

[9] _The Chrome Green_ of Commerce is a mixture of _Prussian Blue_ and _Chrome Yellow_.

[10] _Paris Green._

[11] _Barium Yellow._

[12] _Zinc Yellow._

[13] _Strontium Yellow._

[14] _Materials for Permanent Painting_ (Toch) pp. 48-52.

[15] _Chrome Green_ must not be confounded with the _Chromium Greens_, but is a mixture of _Chrome Yellow_ and _Prussian Blue_.

[16] _Harrison Red_ is a coal tar color similar in shade to _English Vermilion_, but ten times stronger, and is best used as a glaze, or as a solid pigment by itself.

[17] Sold under the name of Permalba, Toxitan, etc.

Transcriber’s Notes

Obvious typographical errors have been silently corrected. Variations in hyphenation and accents have been standardised but all other spelling and punctuation remains unchanged.

Italics are represented thus _italic_.