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Series editors' preface - Wood Tools

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ensure that any water residues are removed.<br />

Any other treatment should be undertaken by<br />

a specialist.<br />

15.5 Flat glass, mirrors, reverse<br />

painted and gilded glass<br />

Glass may be found association with many<br />

different forms of furniture including glazed<br />

doors and door lights, wall mounted framed<br />

mirrors and reverse paintings on glass, mirrors<br />

within dressing tables and boxes or as small<br />

decorative elements such as painted or gilded<br />

glass on frames and drawer fronts. These<br />

glasses cannot be considered in isolation from<br />

the furniture of which they form a part. As<br />

with a framed painting, the glass is the<br />

functional part of a framed mirror. The mirror<br />

frame, like the picture frame, is a support for,<br />

and an enhancement of the looking glass.<br />

Both glass and frame make up the mirror and<br />

it would be unethical to separate them. Where<br />

both furniture and glass are to be conserved,<br />

it is necessary to consider the level of conservation<br />

treatment in order that visual harmony<br />

is maintained. All glass can be conserved if the<br />

budget allows and the owner really wants to<br />

keep the original. Replacing original glass with<br />

a reproduction can significantly reduce the<br />

value of the whole object.<br />

15.5.1 Flat glass<br />

Flat glass can be made by various methods<br />

(see section 5.6) that can be determined by<br />

visual examination and analysis (Frank, 1982).<br />

Glass is a non-porous, brittle and may be<br />

considered a comparatively ‘unforgiving’<br />

material. Mechanical damage is the most<br />

common cause of deterioration because of the<br />

inherent brittleness of the material. Scratches<br />

can be ground from the glass, but will leave<br />

a dip that may prove obtrusive, particularly on<br />

mirrored glass. Handling glass can be<br />

problematic. Not only can it be very heavy<br />

and unwieldy, but also there is a possibility<br />

that cracks may propagate rapidly and lead to<br />

breakage. Such cracks may be small or invisible<br />

to the naked eye but may extend when<br />

the glass is handled. Changes in temperature,<br />

especially sudden cooling known as thermal<br />

shock, may cause glass to crack.<br />

Conserving other materials I 705<br />

Broken glass is difficult to re-assemble and<br />

bond, both because of the nature of the glass<br />

and the relatively few materials with a refractive<br />

index suitable for glass repair (Tennent<br />

and Townsend, 1984). Although generally<br />

found in vessel glass, ‘glass disease’ may also<br />

be encountered in furniture, particularly where<br />

the glass is enclosed, for example in toilet<br />

boxes, clocks or barometers. Much of the<br />

information on the conservation of glass deals<br />

with vessel glass rather than the flat glass that<br />

is likely to be encountered in furniture (e.g.<br />

Tennent, 1999).<br />

15.5.2 Mirrored glass<br />

Glass may be decorated in many different<br />

ways. The most common forms are mirrors,<br />

reverse painted glass (hinterglasmalerei) and<br />

verre eglomisé. These decorative techniques<br />

may be found together on the same object or<br />

even on the same plate of glass.<br />

Mirrors have been produced since early in<br />

the fourteenth century by applying a metallic<br />

layer to the reverse side of a flat sheet of glass<br />

(Child, 1990; Wills, 1965). Two distinct types<br />

are mercury/tin amalgam and silvered mirrors<br />

(see section 5.6). Tin/mercury mirrors were<br />

produced up to the beginning of the twentieth<br />

century, whilst silver-backed mirrors were<br />

produced from the middle of the nineteenth<br />

century. The two differ in both colour and<br />

reflectivity. Tin/mercury mirrors reflect darkly<br />

and have a grey tint, whilst silvered mirrors<br />

are brighter and have a slight yellow reflection.<br />

Whilst the back of silvered mirrors were<br />

always given a protective coat of paint,<br />

tin/mercury mirrors were rarely painted,<br />

except, for example, those used at sea.<br />

Mercury mirrors can be recognized by the<br />

rough matt grey (verso) and by the distinctive<br />

characteristics of the deterioration seen from<br />

the front.<br />

The tin/mercury surface is a two-phase<br />

system in which crystals of a tin–mercury<br />

compound are surrounded by a mercury-rich<br />

liquid phase. This two-phase amalgam layer is<br />

unstable. The crystals change shape and grow<br />

larger whilst the amalgam layer oxidizes and<br />

releases liquid mercury that slowly evaporates.<br />

The liquid phase moves slowly to the bottom<br />

edge of the mirror, where it is not uncommon<br />

to find droplets of mercury. Whilst the upper

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