essent�rving�87

L I N F. N F O I. D

Fig 7.13 Cutting along the top of the lower fołd.

COLOUR AND FlNISHES,

Including Fuming

Traditionally these carvings may havc bccn painted {seeFig 7.2), but time and changes in foshion make it hard for us to know how much this was done. Surviving examples are mostly in apparently umreated wood or were beeswaxed, oiled or varnishcd. The colour may be changcd by washing the oak with washing soda. This will redden it but will also raise any rough grain. A blacker or greyer brown can be obtained by fuming, which docs not raise the grain. The dark oak found in srables as a result of the presence of horses’ urine is thought to have suggested the idea of exposing oak to concentrated ammonia fumes. Simply place the panel in a transparent plastic bag. If it is balanced on pins the gas will affect the undersidc as well. Slide in a saucer fuli of household ammonia and scal the bag. Obviously this must be donc in a well-venólated place. If it is done early in the day you can watch the colour change and stop the proccss when the desired shadc has bccn reached.

Fig 7.14 The edge of the lower fold has been stabbed in the sanie way as in Fig 7.11. The deep gouge cuts across the cortier of the bottom fold. The comers of the folds descend continuously front one kitel to the next.

FlG 7.15 A piece of linenfold with a stabbed and punched embroidery pattern. A V tool was tised to mark the hem. The edge of the materiał has been chamfered to strengthen it and to make it read clearly. Carned by Rachel Leiby

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