The Fine Arts Conservancy Glossary, Art and Furniture Restoration Terms

Bole:	A colored clay used as a preparatory layer for gilding; its color determines tonality of the gold.
Boule (also Buhl):	After Andre C. Boule (French 1642 – 1732); elaborate inlay work distinguished by intricate often lacy, brass designs. Can be combined with various rare woods, ivory, and tortoise shell to form complex designs.
Burl:	Strongly marked wood cut from a large, round disfiguring outgrowth of a tree or limb.
Carving:	To fashion a decorative element into a desired shape by cutting material with sharp tools. (See “Recarving”).
Element:	One of the parts of which an object is composed.
Figure:	The surface pattern of a piece of solid wood or veneer created by the wood’s grain.
Fretwork:	Decorative patterns or elements created by cutting or piercing through a piece of wood.
Gesso:	A combination of calcium carbonate and glue used over an object’s surface and as a preparation layer for gilding or painting.
Gilt:	Gold applied to a substrate.
Gilding:	The application of gold leaf to an object, generally to wood or metal.
Gilt Parcel:	An object, which has gilded elements without the whole being gilded.
Gilt Paint (also "Gold Paint"):	An oil paint with metal flakes (usually brass) inappropriately used to simulate gilding. Often used over original gilding, gold paint darkens (tarnishes) quickly; it is often impossible to safely remove it from a gilded surface without destroying the surface.
Inlay:	To set pieces (of wood, ivory, metal, stone, etc.) into the surface of a piece, generally at the same level as the surface, to establish a decorative pattern. Marquetry and boulle work are major examples of inlay. Inlay Examples
Knot:	Base of a tree branch, which is visible on a larger branch or trunk sawn from that area.
Late Additions:	Elements which are not original to the object.
Lip:	Solid strip of wood, often decoratively cut, used to finish the edge of a large element such as a top or drawers, etc.
Marbling:	A faux technique to replicate the look of marble using paint, applied directly to the wood surface.
Marquetry:	Elaborate inlay of various woods into patterns, scenes, botanicals, etc.
Ormolu:	Gold mixed with mercury, applied to bronze and furnace fired. Firing vaporizes the mercury leaving a thin layer of gold on the metal. Most often seen in pre-twentieth century metal fixtures on furniture.
Patina Natural:	A surface finish or appearance induced by environmental factors over a prolonged period of time; often called “age patina.”
Patina, Induced:	A surface finish or appearance artificially induced by chemicals or other means to create a finish desired by the creator; (2) artificially induced replication of age.
Primary Elenent:	One of the most important visual elements, almost always visible when the furniture is in its usual placement; e.g. bookcase doors; drawers; crest rail, etc.
Secondary Element:	Generally a support element which is not visible when the piece is in its visual placement.
Stain:	A liquid applied to wood to penetrate the surface and product a rich color.
Structure:	That which supports the primary structure upon which the primary structure is adhered or otherwise attached; e.g. “pine under the veneer with corner blocks.”
Support Element:	Any vertical element (leg, foot, etc.) used to hold a piece of furniture upright, constituting an important visual piece of the whole.
Veneer:	A think surface layer, usually fine wood that will be adhered to a substrate of less valuable or inferior wood. May also be horn, ivory, etc.
Wood Surface, Cross-Section:	Surface created by a transverse cut at right angles to the wood’s grain.
Wood Surface, Radial:	Surface created by a cut at right angles to growth increments and parallel to the rays.
Wood Surface, Tangential:	Surface created by a cut at right angles to the rays and tangential to the growth increments.

	TOP

	Degree: The comparative extent of damage described by the following adjectives:
Negligible:	insignificant damage that may not need immediate attention but needs to be monitored.
Slight:	damage slightly more noticeable than “negligible”; should be monitored by a conservator.
Minor:	existing condition, which is relatively unimportant; generally does not involve risk of loss; should be monitored by a conservator.
Moderate:	damage is noticeable and may be of middle or increasing severity of size; not serious but should be monitored or corrected by a conservator.
Marked:	readily identified damage, often with distinctive features and requires remediation by a conservator.
Major:	damages or existing condition are noticeable, if not conspicuous in extent; stability of the work is in question, often great risk is a factor. Requires immediate attention by a conservator to prevent further damage or loss.
Extreme:	most severe damage or existing condition has become very advanced. The work is insecure, no longer stable and at great risk.
	TOP

	It is important to understand that damage to a work of art is rarely static and the work will continue to deteriorate. It is best to have a conservator monitor works annually.