LANDSCAPE PAINTING
stretcher has the same disillusioning effect, and for this reason no picture is really complete until it is enclosed within the sheltering protection of a frame. It is necessary to separate the real from the unreal, the hard reality of the background of burlap or of wall-paper from the illusion of the picture.
Now the question at once arises as to the best form for this protecting barrier, the best material to use in its construction, and the best and most harmonious surface for its finish. Artists are all aware of the vital importance of this matter. They know that a frame can either make or mar their picture, and they give the subject constant thought and attention. At one period I devoted considerable time and study to the question and made voyages of discovery into many strange and untried fields.
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