Unrelated To Antique Rooms: Other tones, however, are also used for antiquing. A smooth glaze may be applied with a large brush over a whole painted surface and then stippled. In other glazes the brush marks are intentionally left visible. The latter are known as streak glazes and they are produced by a large calcimine brush.
Plain glazes may be softened or modulated by means of a soft cloth, sponge, or cheesecloth, but care should be taken not to produce artificial effects unrelated to antique rooms. Simple, unostentatious glazes are to be recommended. It is very easy to overglaze a surface, and such an effect is always artificial, vulgar, and in bad taste. Proper antiquing is almost imperceptible.
Glazing is particularly adaptable to panelled rooms and should be used to make the paint and woodwork appear slightly dusty. As dust invariably occurs in panel corners and on certain portions of moldings, it is advisable to put a slightly darker tone in these places. In antique panelled rooms, it was customary to wash the paint in the most accessible portions of the panel fields. This caused the centers and lower portions of the panels to be slightly lighter in tone than the tops and corners. A realistic imitation of this natural condition may often be introduced to advantage, but much discretion must be used to avoid a false effect.
Other tones, however, are also used for antiquing. A smooth glaze may be applied with a large brush over a whole painted surface and then stippled. In other glazes the brush marks are intentionally left visible. The latter are known as streak glazes and they are produced by a large calcimine brush.
Plain glazes may be softened or modulated by means of a soft cloth, sponge, or cheesecloth, but care should be taken not to produce artificial effects unrelated to antique rooms. Simple, unostentatious glazes are to be recommended. It is very easy to overglaze a surface, and such an effect is always artificial, vulgar, and in bad taste. Proper antiquing is almost imperceptible.See Also Although Antique Frames:Picture Framing
The framing of pictures is a matter of great importance. Etchings, water colors, oil paintings, Japanese prints, pencil drawings, and photo¬graphs all require varying types of frames. Some are better under glass, some without; some require ornate frames, others the simplest ones pos¬sible. The frames of a generation ago were almost invariably bad. They were too heavy and elaborate, often overloaded by shadow boxes, and in many cases were more important than the pictures they contained. Fur¬thermore, these frames were of plaster and not of carved and gilded wood, as were the beautiful frames of the 18th century. Designs were poor and of a commercial character. At present antique frames are much in de¬mand for both genuinely old paintings and prints.
As a rule, oil paintings should be framed without mats or glass, al¬though today narrow borders, either painted or covered with natural-colored linen, are in vogue. Logically, modern oil paintings require simpler frames than do the old masters, although antique frames are often used on ultramodern pictures.
On The Other Hand See Important Antique:sculpture the case is more simple. Until n the last 30 years an important antique : was generally restored, and the most skil-carried out restoration was perhaps that e J*Egina sculptures in the Glyptothek in ch. These are said to have been directed e celebrated sculptor Bertel Thorwaldsen, they have a wonderful appearance of , while at the same time no one can say far the surface of the marbles found in a have been lowered in places to agree the restoration.
When very expensive antique or scenic wallpaper is used, the walls should always be covered in advance with muslin, and the paper glued to the fabric. This will permit removing the paper without tearing, if occasion for this should arise. Valuable wallpaper may be sized (covered with a coating of glue or gelatin) and then shellacked with white shellac. This protects the paper from dirt, dust, and finger marks and permits gentle washing with a damp rag. Care should be taken in applying the size to prevent the colors from running, as many wallpapers are printed with water-color or tempera paints that dissolve when liquids are used. The shellacking tends to give the paper a warm yellowish tone, gives it a slightly antique appearance, causes the colors to be more brilliant, and to be blended in a more harmonious effect.
|
