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See also:CARVING AND See also:GILDING , two allied operations which formerly were the most prominent features in the important See also:industry of See also:frame-making. The craftsmen who pursued the occupation were known as " carvers and gliders," and the terms still continue to be the recognized See also:trade-name of frame-making, although very little of the ornamentation of frame-See also:work is now accomplished by carving, and much of the so-called gilt See also:ornament is produced without the use of See also:gold. The trade has to do primarily with the frames of pictures, engravings and mirrors, but many of the See also:light decorative fittings of houses, finished in " See also:composition " and gilt work, are also entrusted to the See also:carver and See also:gilder. See also:Fashion in picture frames, like all fashions, fluctuates greatly. See also:Mouldings of the prevailing sizes and patterns are generally manufactured in See also:special factories, and supplied in lengths to carvers and gilders ready for use. A large proportion of such mouldings, especially those of a cheaper and inferior quality, are made in See also:Germany. What is distinctively known as a " See also:German " moulding is a cheap See also:imitation of gilt work made by lacquering over the See also:surface of a See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white metallic See also:foil. German artisans are also very successful in the preparation of imitation of veneers of See also:rosewood, See also:mahogany, See also:walnut and other ornamental See also:woods. The more expensive mouldings are either in See also:wood (such as See also:oak or mahogany), in veneers of any expensive ornamental wood, or real gilt.
A brief outline of the method of making a gilt frame, enriched with composition ornaments, may be taken as a characteristic example of the operations of the frame-maker. The See also:foundation of such a frame is soft See also:pine wood, in which a moulding of the required See also:size and See also:section is roughly run. To prevent warping the moulding is, or ought to be, made from two or more pieces of wood glued together. The moulding is " whitened up," or prepared for gilding by covering it with repeated coatings of a mixture of finely powdered See also:whiting and size. When a sufficient thickness of the whitening mixture has been applied, the whole surface is carefully smoothed off with See also:pumice-See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone and See also:glass-See also:paper, care being taken to keep the angles and curves clear and See also:sharp. Were a See also:plain gilt moulding only desired, it would now be ready for gilding; but when the frame is to be enrichedit first receives the composition ornaments. Composition, or " compo," is a mixture of See also:fine See also:glue, white See also:resin, and See also:linseed oil well boiled together, with as much rolled and sifted whiting added as makes the whole into a doughy See also:mass while hot. This composition is worked in a hot See also:state into moulds of See also:boxwood, and so pressed in as to take up every ornamental detail. On its removal from the See also:mould all superfluous See also:matter is trimmed away, and the ornament, while yet soft and plastic, is laid on the moulding, and fitting into all the curves, &c., is fixed with glue. The ornamental surface so prepared quickly sets and becomes very hard and brittle. When very large bold ornaments are wanted for frames of unusual size they are moulded in See also:papier mdche. Two methods of laying on gold—oil-gilding and watergilding—are practised, the former being used for frames broken up with enrichments. For oil-gilding the moulding is prepared with two coats of fine thin size to fill the pores of the wood, and afterwards it receives a coat of oil gold-size, which consists of a mixture of boiled linseed oil and ochre. When this gold-size is in a " tacky " or " sticky " See also:condition, gold-See also:leaf is laid on and carefully pressed over and into all parts of the surface; and when covered with a coat of finish-size the gilding is See also:complete. See also:Water-gilding is applied to plain mouldings and all considerable unbroken surfaces, ands finished either "matt " or burnished. For these styles of work the mouldings are properly sized, and after the size (which for " matt " is red in See also:colour and for burnish See also:blue) is dry the gold is laid on with water. Matt-work is protected with one or two coats of finish-size; but burnished gold is finished only by polishing with an See also:agate burnisher—no size or water being allowed to See also:touch such surfaces. The mitring up of frames, the mounting and fitting up of paintings, engravings, &c., involve too many See also:minor operations to be noticed here in detail; but these, with the cutting and fitting of glass, cleaning and repairing pictures and prints, and similar operations, all occupy the See also:attention of the carver and gilder.
End of Article: CARVING AND GILDING
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