See also:

• CARVING

CARVING AND See also:

• GILDING

GILDING  , two allied operations which formerly were the most prominent features in the important See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry of See also:

• FRAME

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 (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade-name of frame-making, although very little of the ornamentation of frame-See also:

• WORK

work is now accomplished by See also:

• CARVING

carving, and much of the so-called gilt See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament is produced without the use of See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold . The trade has to do primarily with the frames of pictures, engravings and mirrors, but many of the See also:

• LIGHT

light decorative fittings of houses, finished in " See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition " and gilt work, are also entrusted to the See also:

• CARVER, JOHN (x575?-1621)
• CARVER, JONATHAN (c. 1725-1780)

carver and See also:

• GILDER, RICHARD WATSON (1844–1909)

gilder . See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

Fashion in picture frames, like all fashions, fluctuates greatly . See also:

• MOULDINGS

Mouldings of the prevailing sizes and patterns are generally manufactured in See also:

• SPECIAL

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
• GERMANY (Ger. Deutschland)

Germany . What is distinctively known as a " See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German " moulding is a cheap See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of gilt work made by lacquering over the See also:

• SURFACE

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

foil . German artisans are also very successful in the preparation of imitation of veneers of See also:

• ROSEWOOD

rosewood, See also:

• MAHOGANY

mahogany, See also:

• WALNUT (Juglans)

walnut and other ornamental See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods . The more expensive mouldings are either in See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood (such as See also:

• OAK (O. Eng., (lc)

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 (Lat. fundatio, from fundare, to found)

foundation of such a frame is soft See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine wood, in which a moulding of the required See also:

• SIZE

size and See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

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 See also:

• GILDING

gilding by covering it with repeated coatings of a mixture of finely powdered See also:

• WHITING
• WHITING (Gadus merlangus)

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 (Lat. purnex, spumex, spuma, froth)

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
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass-See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper, care being taken to keep the angles and curves clear and See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp . Were a See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

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

fine See also:

• GLUE (from the O. Fr. glu, bird-lime, from the Late Lat. gluten, glus, glue)

glue, white See also:

• RESIN (through O.Fr. resine, modern reline, from Lat. resina, prcbably Latinized from Greek Pirivrt, resin)

resin, and See also:

• LINSEED

linseed oil well boiled together, with as much rolled and sifted whiting added as makes the whole into a doughy See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass while hot . This composition is worked in a hot See also:

• STATE
• STATE, GREAT OFFICERS OF

state into moulds of See also:

• BOXWOOD

boxwood, and so pressed in as to take up every ornamental detail . On its removal from the See also:

• MOULD

mould all superfluous See also:

• MATTER

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

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 (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition, gold-See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

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

complete . See also:

• WATER

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 (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and for burnish See also:

• BLUE (common in different forms to most European languages)

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

agate burnisher—no size or water being allowed to See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch such surfaces . The mitring up of frames, the mounting and fitting up of paintings, engravings, &c., involve too many See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

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 (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of the carver and gilder .