When speaking in another part of this work about the methods of conferring an appearance of age to newly cast bronze, we remarked that the faker’s best accomplice12 in the ageing process was chemistry. The colouring and bronzing of metals in fact is usually accomplished13 by one of two methods, by the action of chemicals or by the application of bronze powders rendered impalpable and used as a pigment14.
The latter method is mostly used in modern industrial art, but has, nevertheless, been applied15 in imitating antiques and in disguising mended parts, etc. It is often used with success in the case of imitations of excavated16 objects which generally have a bluish-green patina17. This may be imitated to deceive the eye of the beginner only, by the application of green-bronze lacquer of a dull lustre18, or of green varnish19. The green of the bronze colour is best prepared by mixing Frankfort black with chrome yellow.
These are, however, but cheap and not always convincing expedients20, the real way to give tone and colour to bronze and other metals is by resort to chemistry.
264 A brown colour on bronze, for instance, may be obtained by preparing a sand bath large enough to contain the article to be bronzed. When the object has been cleansed21 from all grease by dipping in boiling potash lye, it is treated with white vinegar. After this preliminary operation the object is wiped thoroughly22 dry and then rubbed with a linen23 rag moistened with hydrochloric acid. When this coating is perfectly24 dry—a quarter of an hour is sufficient—the article must be heated in the sand bath until it has acquired a bluish tint25, and a final rubbing with a linen rag soaked in olive oil will change the blue colour to brown.
Recipes and processes are endless and so rich in hues26 that almost any tone may be obtained. To any interested in this branch of imitating old metals we can but suggest the excellent book, The Metal Worker’s Handy Book, edited by William T. Brannt.
As we have said, there are many methods by which to give the proper patina to metals, and a good deal of mystery, some fakers and imitators claiming to be in possession of unrevealed secrets.
When exposed to the air for a long time, copper and bronze acquire a fine brown or green patina which, as every collector knows, greatly enhances the merits of an artistic piece in these two metals. A perfect imitation of the result of a long process of time is not an easy matter, in fact an almost impossible task.
Formerly28 the patina of a bronze was in a way the final test of authenticity30, but nowadays there are modern imitations of so deceptive31 a character that the best connoisseurs5 are taken in.
One of the best known methods by which old patina is imitated on copper and bronze, is to follow as closely as possible the process by which the genuine patina is produced. Thus the action of rain, interment, immersion32 in some permeating33 substance that will generate hydrosulphuric acid are called into service by those willing to wait a comparatively long time for the desired effects. Others accelerate265 the above process by increasing the proportion of the natural conducive34 elements. The objects are also treated with water containing ammonia, carbonic acid, etc., exposed to the intense and direct action of vapour or vaporized acid in order to produce those basic salts that form a certain patina.
To obtain the malachite kind of patina that generally characterizes objects found in the ground, the imitator generally brushes the metal over with a very weak solution of cupric nitrate to which a small quantity of common salt in solution may be added. When completely dry it is again brushed over with a liquid consisting of one hundred parts of weak vinegar, five of sal-ammoniac and one of oxalic acid, and the application is repeated after the first has dried. In about a week’s time the metal will have acquired a green-brown colour that may be polished with encaustic if the patina is to have a shiny appearance.
Such is the leitmotiv, more or less, of the processes for obtaining the green or brown-green patinæ. Some dip the object in cupric acid and then place it in a room in which an excess of carbonic acid is produced, by others preference is given to one or the other element according to the tone and colour desired.
Brass articles are coated with green patina by a solution containing 150 parts of vinegar to which has been added ten parts of copper dissolved in twenty of nitric acid. An application of this liquid is generally made on the object.
The brown patina usually characterizing old medals is obtained in many ways. One is by heating the medal at the flame of a spirit lamp and then brushing it with graphite. To colour a number of medals at the same time, some imitators dissolve thirty parts of verdigris35 and thirty parts of sal-ammoniac in ten of water, adding water to the solution till a precipitate36 is no longer formed. Then the medals are placed in a shallow dish without touching37 one another and the boiling solution is poured over them. The medals are allowed to remain in the solution till they have acquired the desired tint, which should be a fine brown.
266 Green or bluish patinæ may also be given to bronze or copper by triturated copper carbonate used as a paint with a pale spirit varnish, shellac or sandarac, and applied with a brush.
Verdigris generally gives a bluish tint and crystallized verdigris a pale green tint. The two tones can be mingled38 to obtain some special hue27.
Iron work is perhaps one of the easiest to imitate and give an appearance of antiquity39. As far as the actual work is concerned, it rests entirely40 upon the skill and artistic taste of the worker. Patina on iron is either caused simply by rust or by a slow process of oxidation which confers a rich, dark tone to iron. There is also a special patina seen on iron that has been under water for a long time, but this is rare in imitations and very difficult to obtain.
The rusty41 coating on iron can be produced by almost any preparation capable of oxidizing the surface or transforming it into basic salt provided a red colour results, as with nitric or hydrochloric acid, for instance.
The brown patina is often obtained by oiling the piece and exposing it to the direct action of flame. The two methods may be alternated and the corrosion42 of the acid here and there adds character to the piece. Methods are so various, however, that the way to obtain a convincing patina is perhaps contained in the dictum of an Italian antiquary: “To inflict43 upon the object that is to be turned into an antique every possible indignity44 and abuse.”
The patina in imitations of old iron work is so well reproduced nowadays that even experts are unable to distinguish the real from the unreal with certainty, so much so that more than one has had recourse to an analysis of the composition of the iron in order to decide whether the object were modern or antique.
Lamp Designed by Professor Orlandini, Jun.
Mantel-Piece.
By Prof. Orlandini, an honest imitator of the Renaissance45, who is responsible for many fine pieces of ornamental46 work and many good restorations of antique works.
This justifies48 the verdict of Moreau, an expert and celebrated49 artist in iron, who when called upon to decide whether a certain artistic key exhibited at the Paris World Exhibition of 1878 were really of ancient workmanship, replied that he267 could not tell unless he were allowed to break the key and examine the grain of iron.
Italy is one of the countries where the imitation of old iron is traditional. In olden times it was the work of Caparra and other artists of the Renaissance that were imitated, nowadays old models are reproduced for the benefit of the tourist, and some are conceived in the old style with extreme perfection for those collectors who go in for originals and who buy this modern work as genuine chefs-d’œuvre of the Quattrocento and Cinquecento.
Florence, Venice, and the town of Urbino furnish the Italian market with the best imitations of old candelabra, andirons, gates, lamps, and keys; in fact everything that is likely to attract the tourist or please the collector.
Nearly every country possesses good imitators of artistic old iron, which is perhaps due to the fact that such imitations do not require any great artistic ability, nor is the coat of rust on modern iron a matter incurring50 expense or complicated methods. The most difficult in this field are the imitations of arms of all kinds, which require a skilful51 workman and often a finished artist in iron work.
In this particular branch of faking it is not only a question of reproducing old weapons of a national character, but the forger9 frequently turns his attention to imitating arms of exotic type. We all know that Constantinople is the place par11 excellence52 for imitations of old Oriental arms and armour, but very few are aware that when they buy an Oriental poignard or Turkish gun ornamented53 with passages from the Koran in Africa, for instance, they are buying goods made in Germany. As a matter of fact, however, German factories supply Oriental maritime54 markets with all their fine arms. We still recollect55 the amazement56 of an American tourist who on returning from a fair near Tangiers showed the hotel-keeper his find, a fine Morocco knife with a carved scabbard in brass, and was told that it was German. As he persisted in his incredulity, the hotel-keeper showed him the mate of his bargain, which had been presented to him268 by the German commercial traveller who had lodged57 in his hotel.
As usual, collectors of the genre58 being diverse as to taste and calibre as connoisseurs, the accommodating faker has goods to suit the varied59 scale of his clients, or rather there are fakers of arms and armour like the Venetian rubbish which is for easily pleased greenhorns, and others producing fine goods for the man of exquisite60 taste such as the product of Vienna, Belgium, France, and sundry61 Italian artists of forged steel. We have purposely made a distinction by saying sundry Italian artists, because while the imitation of arms in other countries assumes the character of factory work of extremely good quality, in Italy the artist who forges steel, chisels62 it and imitates old weapons, is usually a solitary63 worker in his own home, a fact that makes him far more dangerous to the collector. These artists are often simply imitators of the old style whose work is sold by others as antique. One of them used to live in Lucca whose imitations of old daggers64 cinquedee or lingue di bove have become famous. Another in a town of Northern Italy, imitates Negroli and Milanese work with uncommon65 success.
Many of these artists, who imitated and copied old damascened work to perfection, with no thought of cheating, have executed fine work that can stand upon its own merits so to say. Such, for instance, is the work of Zuloaga, the father of the painter of that name, and of another Spaniard of repute in the artistic world, Mariano Fortuny. This excellent painter was also a first-rate chiseller66 and good artist in damascened work. He imitated the Moresque style to perfection. At the sale that took place after his death, one of his productions, a damascened sword, fetched the price of 15,000 francs, and was sold with no other recommendation than that of being a modern imitation of the antique by Mariano Fortuny.
In a letter written to the well-known amateur Baron67 Davillier, Fortuny speaks of a flourishing factory near his studio in which excellent imitations of armour were made,269 chiefly repoussé shields. It may be taken for granted that if such a judge as Fortuny called the imitation of this Roman work excellent, some of them are at present enriching well-known collections.
There is a scarcity68 of genuine pieces on the market, in fact hardly a single fine Cinquecento sword or halberd is to be seen in shops now or is for sale. The few still obtainable are poor specimens69 as a rule, and this fact ought to put the neophyte70 on his guard when he is offered some gorgeously ornamented sword, pike, ranseur or partisan71 lavishly72 chased and gilded73.
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Some years ago an elegant lady was asked why the fair sex preferred to dress elaborately rather than in the stylish74 simplicity75 of tailor-made gowns, to which she replied, “Perhaps because it is less expensive.” In a way the fine plain swords and unornamented pieces of armour are more difficult to fake; they would seem to demand the same eye for form as a perfectly cut, well-fitting, simple tailor-made gown. This combined with the collector’s cheap taste in arms may be the reason why the faker gives preference to imitations loaded with chased or damascened ornamentation, and enriched with gilding76 and elaborate arabesques77.
The rarity of imitations of fine weapons characterized by elegant lines, simplicity and sobriety of ornament47, suggested to the author some years ago the solution to a difficult problem propounded78 by Baron Nathaniel Rothschild.
When called to Baron Rothschild’s magnificent mansion79 in Vienna, I found this rich and sagacious collector had received two fine swords that were being offered for sale. One was simplicity itself, the other over-ornamented and lavishly gilded on blade and hilt.
“Which do you advise me to buy? I must decide between the two.”
To be frank, they both looked genuine to me, but the Baron’s question roused a suspicion in my mind that one of the two swords was a forgery80.
270 “I should buy this one,” I answered, pointing to the sword almost deprived of ornament.
“You have a good eye,” complimented the Baron. “The other sword is an imitation, one of the most admirable I have ever seen.”
My discernment, however, was merely based on the accepted aphorism81 that the combination in art of simplicity and extreme elegance82 is difficult to imitate, otherwise who knows but what I might not have selected the faked sword.
It must be added here, that an imitation can very rarely bear close comparison with a genuine piece. The proximity83 of the genuine article is always rather disastrous84 to the fake, and never more so than in the case of arms and armour. This may be accounted for by the difference in the modern methods of working and ornamenting85 steel. These methods not only produce a difference in the raw and worked steel that connoisseurs claim to distinguish, but the ornamentation itself is wrought86 by other means. Engraved87 ornaments88, especially on pieces that do not aim to deceive first-rate connoisseurs, are rarely done by the old method but preferably by acids.
Damascening, such as is rarely done now even in the East, was a skilful and complicated operation by which steel blades and armour were inlaid with gold or silver ornamentations. The designs were first cut deep into the steel with a burin, then the gold or silver was beaten in with a hammer, not only until the surface was smooth, but until the inset was securely worked into and held by all the irregularities of the groove89. Such work is now imitated by gilding over a rather shallow groove obtained by the action of nitric acid. The sombre shine of old steel is generally reproduced by a thin coat of encaustic. The sum total of these differences, together with a certain loss of artistic sense in the art, are the causes perhaps of the disastrous effect upon fakery of a close proximity with genuineness, as above noted90.
This, of course, is in common cases, for, as we have said, there are sporadic91 workers in steel who produce pieces271 that baffle the best connoisseurs—as an artistic object cannot always be tested by breaking it and examining the texture92 of the metal, which would be the safest method at present.
Here again we are forced to advise the new-comer in the field of connoisseurship during his search for arms in his first enthusiastic stage, to use more than one grain of salt with what he hears, and several pounds of scepticism when he comes across what would seem to be a real find. For over thirty years arms, we mean fine specimens, have practically disappeared from the market. Pistols, guns and weapons of a late epoch93 may still be seen, but not swords of the Quattrocento and early Cinquecento.
Also in this field the semi-faked article has the usual luck of fetching a good price with the majority of collectors. Plain old pistols are often embellished94 with all kinds of most seductive additions. Mottoes are engraved or inlaid in silver on blades originally simple but deprived of the elegant simplicity to which we have already alluded95.
These, however, are the cheap articles of the trade; but the story of three shields, a well-known incident still recounted among Paris collectors, offers ample proof that there are also in this field imitations that defy the best connoisseurs, as we have already said, and gladly repeat, in order to render our warning to the novice96 all the more emphatic97.
One of these skilled imitators flourished several years ago in Italy’s chief rival in antiquities98 and faking. We refer, of course, to Spain.
The first of the three identical shields, all of which came to Paris, was palmed off on Mr. Didier-Petit, an excellent connoisseur6, who paid the good round sum of £400 for this fine piece of imitation. It was repoussé work with a mythological99 subject in the centre, “Jove fulminating the Titans.” The person to be struck down really, however, was poor Mr. Didier-Petit, rather than the Titans, for on realizing that he had been fooled he died of grief or apoplexy, brought on by his disillusion100, and wounded pride as a connoisseur.272 Under the auctioneer’s hammer at a subsequent sale, the famous shield fetched £20.
The second, of identical make, was very nearly passed off on Baron Davillier, perhaps the most esteemed101 connoisseur of his time. Baron Davillier was offered the rare piece in Spain. He was struck at first by its beauty and appearance of authenticity as well as the plausible102 story by which the owner explained his possession of such a valuable object. The bargain was struck at £320 and, happy over his piece of good luck, Baron Davillier, like a true collector, hastened to convey his find safely to his home in Paris. Noticing at the Custom House that the official treated his precious find with indifference103, he became suspicious, and his suspicion of having been cheated grew to certainty before the end of the journey. It would take long to recount the circumstances by which Baron Davillier recovered his £320, suffice it to say that he did recover them and the Spaniard replaced the faked shield in the panoply104 from whence the Baron had taken it down, swearing all the time that it was genuine even though the Baron had seen another like it, that there might be twins among articles of virtu, etc.
But there was still the third of the shield triplet fated to come to Paris, bought by the well-known expert called, or rather nicknamed, Couvreur. Curiously105 enough, this third expert from one and the same city was also a specialist in arms, as Baron Davillier might have been considered, had his immense knowledge not conferred upon him the character of a specialist in almost every branch of connoisseurship.
Plaquettes of Various Artists.
Imitations of Roman work.
Where did Couvreur buy this third shield? From the very man who tried to cheat Baron Davillier. It appears it was not the same shield as the Baron’s, though of identical workmanship, for there were trifling106 differences between it and the fake No. 2 to reach Paris. Couvreur had paid a fine price for his find, £800. He never recovered his money and created a scandal by presenting the piece for exhibition at the World’s Show of 1878, insulting the judges upon their refusal to place it among the genuine pieces. Thus he273 lived and died maintaining that all who believed the piece to be a fake were fools.
This story only goes to prove that in every branch of imitation or faking there exist some artists of unusual talent able almost to attain107 perfection. Those who remember the story of the famous Gladius Rogieri quoted by Paul Eudel in his amusing book, Le Truquage, and all the discussion held in Court over this supposed sword of the valiant108 King Robert of Sicily, are aware how a good connoisseur such as M. Basilewski and a well-informed dealer109 like M. Nolivos can be taken in by a fine piece of faking, and how a legion of experts may give contrary evidence as to the authenticity of an object. And if this could happen in Paris, one of the most enlightened cities as to connoisseurship, and among a coterie110 of specialists, it may be imagined what possibilities for deception111 are offered by America, that El Dorado of fakers.
While speaking of first-rate imitations by fakers conscientious112 enough to use steel, we may add that there are successful imitations in which iron and cast iron have been substituted for the orthodox metal for weapons.
The learned Demmin declares that “the casting which forgery has made it very difficult to recognize” is a source of no little embarrassment113 to collectors. He suggests that when there is a suspicion that a piece is cast, an unimportant part of it should be filed and, as usual, the texture of the material be examined. If under the magnifying glass the grain appears coarser and very shiny, the piece has been cast. To tell iron from steel Demmin suggests that a drop of sulphuric acid diluted114 with water should be applied. If the action of this liquid turns the metal black it is steel, if a greenish mark is made that can be easily washed away with water, then it is iron. The black stain is produced on steel because the acid eats into the iron and not the carbon contained in the composition of steel.
Before closing the topic of arms and armour, we may observe that marks on these pieces, whether engraved or274 impressed, are hardly a guarantee, as marks can be as easily imitated on these articles as on any other kind of artistic imitation. In the case of weapons they have even been imitated by workers contemporary with the artist they fraudently copy, in order to take advantage of the high reputation of certain marks. The work of a Missaglia, Domenico or Filippo Negroli, however, is not only attested115 by the stamped name or sigla but by the inimitable sum total of their art. Many imitators have made a great study of copying impressed marks, but have neglected or failed to copy the individual characteristics that bear witness to an artist as much as his signature.
In the imitation and faking of ancient art in its various branches, the methods and the results all differ so little that we fear to grow monotonous116 in this brief sketch117 of the questionable118 trade when now entering another class of metal work, that of silver and gold.
The precious metals require no recipe for patinæ, as patinæ play no part. This is especially so in the case of gold, but as naïve collectors of all branches of art present the same idiosyncrasies, it is evident that the general trend of trickery in the human comedy is more or less identical, when allowance is made for the different materials peculiar119 to each particular art. Indeed the whole matter might be reduced to a simple equation with no unknown quantity, namely a fool on one side and on the other a fraud which works out to a positive and disastrous result for the former.
In the case of silver, although there is not exactly a question of patina properly so-called, there is certainly a question of colouring or oxidizing, for old silver, as everyone knows, never keeps the brightly shining appearance of a new piece. It rather improves with time by the acquisition of a low, pleasing tonality which has a most favourable120 effect, a sort of pleasing light and shade, which the flat negative shininess of a new piece rarely possesses.
In England the conservatism of the upper classes has preserved some really genuine silver articles with duly authenticated275 pedigree. In France the spirit of the Revolution may be responsible to a certain extent for the scarcity of rich pieces of artistic silver, only long before the ruit hora of the Revolution various circumstances had rendered the life of artistic silver precarious121, risks to which all artistic objects in precious metals are liable. Many fine pieces of silver, in fact, were coined into money during Louis XIV’s time, when the State became a financial wreck122 under the glorious reign123 of the Roi Soleil. Changing fashion and taste also, combined with the fact that the silver was for use and not collections, contributed to the destruction of old types of silver-plate to make way for new ones more in keeping with the new forms dictated124 by fashion or altered taste. To the combined effect of financial distress125 and changing taste Italy also owes the destruction of old silver that would otherwise have come down to us intact, just as nowadays plated silver is likely to pass undisturbed from one generation to another.
It is not uncommon in Italy, to hear that some aristocratic family had ancient silver melted down a few years ago, to make new and commonplace table spoons and forks. A lady from Siena who did this for a whim126, kept one piece of the old silver service and was much astonished to learn later that this one piece alone would have fetched a sum sufficient to buy the coveted127 new set of table silver. In Italy, and more especially in Tuscany, the heavy taxes levied128 by Napoleon during the occupation forced many Florentine families to get rid of their silver-plate. As a matter of fact in Italy and elsewhere fine pieces are very rare nowadays. Yet a few years ago fickle129 fashion helped several people of good taste to form excellent collections, gatherings130 of artistic pieces that the art lover would seek in vain to-day. That was the happy time, when old-fashioned and yet artistic silver was hardly reckoned above the intrinsic value of the metal it contained. Fifty or so years ago it was not uncommon for one of the few collectors of artistic silver to come across some artistic beauty offered at so much a gramme, generally a very276 moderate figure slightly above the current price of the metal or at times at the actual value of the silver. To quote one instance out of many. In 1855, at the sale held after the death of Mlle. Mazencourt, some particularly fine flambeaux and other pieces of silver were sold at the price of 20 centimes a gramme. Such conditions explain how Baron Pichon, a collector of taste, was able to buy for the moderate sum of 300 francs an artistic bowl which was sold at his death for 14,000 francs, a price that could easily be surpassed nowadays.
Unfortunately for the true collector, not only has old silver become fashionable, but it has become fashionable to be a collector of artistic silver, and thus real connoisseurship and ignorant greedy wealth have started the usual competition that inevitably131 creates an artificial standard of values, all too apt to generate faking. Faked silver, in fact, came at once triumphantly132 to the front in forms of all kinds, entirely new pieces successfully parading as old, were launched upon the market as well as plain old pieces decked out with the heavy ornamentation likely to suit the taste of the parvenu133. There was also the usual piecemeal134 of different authentic29 parts, joined together more or less harmoniously135 by modern work, in fact all that the faker’s genius and versatility136 is able to produce.
Silver marks, which on genuine pieces guarantee the quality of the metal and the authenticity of the piece as the work of a certain artist, factory or mint, can, unfortunately, be imitated with success. In fact the faker who is a good psychologist and knows that the neophyte amateur relies largely upon his knowledge of marks, generally expends137 great care upon the imitation of the various hall-marks.
Though, as we have already said, silver has no patina properly so-called, there is the tone and colour which has to be imitated. To dull silver—to give it, we mean, the leaden-brownish colour acquired by age—a mixture with sulphur or chlorine is used. A solution of pentasulphide of potassium—the liver of sulphur of the shops—is generally used. Liver of sulphur is prepared by thoroughly mixing and heating277 together two parts of well-dried potash and one of sulphur powder. This mixture also takes effect on cupriferous silver, but the result is not so fine. A velvety138 black is obtained by dipping the article into a solution of mercurous nitrate previous to oxidization. This method is used when a half polish is to be given to the silver, leaving the dark tones in the grooves139. Another method consists of dipping the article into chlorine water, a solution of chloride of lime, or into eau de Javelle. Special works on metals also give many other methods and it is for the imitator to chose the best adapted for the particular case and to use his artistic criterion to obtain a convincing effect.
Passing on to gold, more especially in jewellery, we may say that imitators and fakers have wrought havoc140 by filling the market with spurious products. Imitation in this branch ranges from copying the old art of working gold, of which the famous tiara of Saitaphernes, bought by the Louvre, is one of the most striking examples, to the small piece of jewellery with imitated enamels141 or more or less genuine stones. In this line there is something to suit all tastes, from the eager connoisseur, difficult to please, still on the look out for the marvellous jewellery of the Rennaissance and early sixteenth century, to the less exclusive, satisfied with later epochs down to the eighteenth century.
There is no way of helping142 the neophyte to collect jewellery, not only because fine old pieces are extremely rare, but because no advice or theoretical hints can help the discernment of the genuine article, only sound and well-tested experience, gained often at great cost, is of any real avail.
In this branch also there are imitations that are entirely new and others, like the above-said tiara, that have become such by the preponderance of restored parts, or because the latter are the most important artistically143 speaking. In the tiara of Saitaphernes the genuine part, if genuine, is the upper portion of the domed144 tiara, which is said to have been an ancient drinking cup reversed and placed at the top of the tiara.
278 Many well-imitated rings are really old worn-out rings used for the circle, to show that they have been used, on which the artistic setting of the jewel or other ornamental part has been soldered145.
In conclusion, when you would buy old jewellery buy as if it were modern and pay the price of imitations, then if by some rare chance you are mistaken you will experience the unique pleasure of possessing a “find,” but never reverse the process, for if you buy an ancient piece of jewellery you will certainly realize in due time that it is really modern.
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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armour
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| （=armor）n.盔甲；装甲部队 | |
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rust
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| n.锈；v.生锈；(脑子)衰退 | |
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connoisseurs
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| n.鉴赏家，鉴定家，行家( connoisseur的名词复数 ) | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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connoisseurship
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| n.鉴赏家（或鉴定家、行家）身份，鉴赏（或鉴定）力 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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forger
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| v.伪造；n.（钱、文件等的）伪造者 | |
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forgeries
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| 伪造( forgery的名词复数 )； 伪造的文件、签名等 | |
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par
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| n.标准，票面价值，平均数量；adj.票面的，平常的，标准的 | |
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accomplice
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| n.从犯，帮凶，同谋 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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pigment
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| n.天然色素，干粉颜料 | |
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applied
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| adj.应用的；v.应用，适用 | |
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excavated
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| v.挖掘( excavate的过去式和过去分词 )；开凿；挖出；发掘 | |
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patina
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| n.铜器上的绿锈，年久而产生的光泽 | |
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lustre
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| n.光亮，光泽；荣誉 | |
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varnish
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| n.清漆；v.上清漆；粉饰 | |
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expedients
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| n.应急有效的，权宜之计的( expedient的名词复数 ) | |
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21
cleansed
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| 弄干净，清洗( cleanse的过去式和过去分词 ) | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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25
tint
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| n.淡色，浅色；染发剂；vt.着以淡淡的颜色 | |
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hues
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| 色彩( hue的名词复数 )； 色调； 信仰； 观点 | |
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27
hue
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| n.色度；色调；样子 | |
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28
formerly
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| adv.从前，以前 | |
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29
authentic
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| a.真的，真正的；可靠的，可信的，有根据的 | |
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30
authenticity
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| n.真实性 | |
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31
deceptive
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| adj.骗人的，造成假象的，靠不住的 | |
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32
immersion
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| n.沉浸；专心 | |
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33
permeating
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| 弥漫( permeate的现在分词 )； 遍布； 渗入； 渗透 | |
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34
conducive
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| adj.有益的，有助的 | |
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35
verdigris
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| n.铜锈；铜绿 | |
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36
precipitate
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| adj.突如其来的；vt.使突然发生；n.沉淀物 | |
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37
touching
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| adj.动人的，使人感伤的 | |
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38
mingled
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| 混合，混入( mingle的过去式和过去分词 )； 混进，与…交往[联系] | |
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39
antiquity
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| n.古老；高龄；古物，古迹 | |
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40
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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41
rusty
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| adj.生锈的；锈色的；荒废了的 | |
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42
corrosion
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| n.腐蚀，侵蚀；渐渐毁坏，渐衰 | |
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43
inflict
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| vt.(on)把…强加给，使遭受，使承担 | |
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44
indignity
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| n.侮辱，伤害尊严，轻蔑 | |
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45
renaissance
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| n.复活，复兴，文艺复兴 | |
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46
ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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47
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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48
justifies
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| 证明…有理( justify的第三人称单数 )； 为…辩护； 对…作出解释； 为…辩解（或辩护） | |
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49
celebrated
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| adj.有名的，声誉卓著的 | |
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50
incurring
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| 遭受，招致，引起( incur的现在分词 ) | |
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51
skilful
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| (=skillful)adj.灵巧的，熟练的 | |
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52
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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53
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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54
maritime
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| adj.海的，海事的，航海的，近海的，沿海的 | |
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55
recollect
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| v.回忆，想起，记起，忆起，记得 | |
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56
amazement
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| n.惊奇，惊讶 | |
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57
lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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58
genre
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| n.(文学、艺术等的)类型，体裁，风格 | |
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59
varied
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| adj.多样的，多变化的 | |
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60
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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61
sundry
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| adj.各式各样的，种种的 | |
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62
chisels
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| n.凿子，錾子( chisel的名词复数 )；口凿 | |
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63
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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64
daggers
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| 匕首，短剑( dagger的名词复数 ) | |
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65
uncommon
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| adj.罕见的，非凡的，不平常的 | |
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66
chiseller
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| n.凿工，凿匠， （美）（非正式）骗子 | |
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67
baron
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| n.男爵；(商业界等)巨头，大王 | |
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68
scarcity
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| n.缺乏，不足，萧条 | |
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69
specimens
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| n.样品( specimen的名词复数 )；范例；（化验的）抽样；某种类型的人 | |
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70
neophyte
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| n.新信徒；开始者 | |
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71
partisan
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| adj.党派性的；游击队的；n.游击队员；党徒 | |
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72
lavishly
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| adv.慷慨地，大方地 | |
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73
gilded
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| a.镀金的，富有的 | |
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74
stylish
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| adj.流行的，时髦的；漂亮的，气派的 | |
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75
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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76
gilding
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| n.贴金箔，镀金 | |
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77
arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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78
propounded
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| v.提出（问题、计划等）供考虑[讨论]，提议( propound的过去式和过去分词 ) | |
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79
mansion
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| n.大厦，大楼；宅第 | |
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80
forgery
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| n.伪造的文件等，赝品，伪造（行为） | |
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81
aphorism
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| n.格言，警语 | |
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82
elegance
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| n.优雅；优美，雅致；精致，巧妙 | |
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83
proximity
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| n.接近，邻近 | |
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84
disastrous
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| adj.灾难性的，造成灾害的；极坏的，很糟的 | |
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85
ornamenting
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| v.装饰，点缀，美化( ornament的现在分词 ) | |
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86
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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87
engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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88
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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89
groove
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| n.沟，槽；凹线，（刻出的）线条，习惯 | |
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90
noted
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| adj.著名的，知名的 | |
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91
sporadic
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| adj.偶尔发生的 [反]regular；分散的 | |
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92
texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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93
epoch
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| n.(新)时代；历元 | |
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94
embellished
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| v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色 | |
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95
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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96
novice
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| adj.新手的，生手的 | |
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97
emphatic
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| adj.强调的，着重的；无可置疑的，明显的 | |
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98
antiquities
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| n.古老( antiquity的名词复数 )；古迹；古人们；古代的风俗习惯 | |
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99
mythological
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| adj.神话的 | |
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100
disillusion
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| vt.使不再抱幻想，使理想破灭 | |
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101
esteemed
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| adj.受人尊敬的v.尊敬( esteem的过去式和过去分词 )；敬重；认为；以为 | |
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102
plausible
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| adj.似真实的，似乎有理的，似乎可信的 | |
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103
indifference
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| n.不感兴趣，不关心，冷淡，不在乎 | |
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104
panoply
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| n.全副甲胄，礼服 | |
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105
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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106
trifling
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| adj.微不足道的；没什么价值的 | |
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107
attain
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| vt.达到，获得，完成 | |
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108
valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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109
dealer
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| n.商人，贩子 | |
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110
coterie
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| n.(有共同兴趣的)小团体，小圈子 | |
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111
deception
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| n.欺骗，欺诈；骗局，诡计 | |
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112
conscientious
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| adj.审慎正直的，认真的，本着良心的 | |
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113
embarrassment
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| n.尴尬；使人为难的人(事物)；障碍；窘迫 | |
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114
diluted
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| 无力的，冲淡的 | |
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115
attested
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| adj.经检验证明无病的，经检验证明无菌的v.证明( attest的过去式和过去分词 )；证实；声称…属实；使宣誓 | |
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116
monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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117
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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118
questionable
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| adj.可疑的，有问题的 | |
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119
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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120
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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121
precarious
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| adj.不安定的，靠不住的；根据不足的 | |
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122
wreck
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| n.失事，遇难；沉船；vt.(船等)失事，遇难 | |
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123
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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124
dictated
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| v.大声讲或读( dictate的过去式和过去分词 )；口授；支配；摆布 | |
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125
distress
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| n.苦恼，痛苦，不舒适；不幸；vt.使悲痛 | |
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126
whim
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| n.一时的兴致，突然的念头；奇想，幻想 | |
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127
coveted
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| adj.令人垂涎的；垂涎的，梦寐以求的v.贪求，觊觎(covet的过去分词)；垂涎；贪图 | |
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128
levied
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| 征（兵）( levy的过去式和过去分词 )； 索取； 发动（战争）； 征税 | |
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129
fickle
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| adj.(爱情或友谊上)易变的，不坚定的 | |
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130
gatherings
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| 聚集( gathering的名词复数 )； 收集； 采集； 搜集 | |
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131
inevitably
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| adv.不可避免地；必然发生地 | |
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132
triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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133
parvenu
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| n.暴发户，新贵 | |
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134
piecemeal
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| adj.零碎的；n.片，块；adv.逐渐地；v.弄成碎块 | |
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135
harmoniously
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| 和谐地，调和地 | |
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136
versatility
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| n.多才多艺，多样性，多功能 | |
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137
expends
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| v.花费( expend的第三人称单数 )；使用（钱等）做某事；用光；耗尽 | |
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138
velvety
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| adj. 像天鹅绒的, 轻软光滑的, 柔软的 | |
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139
grooves
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| n.沟( groove的名词复数 )；槽；老一套；（某种）音乐节奏v.沟( groove的第三人称单数 )；槽；老一套；（某种）音乐节奏 | |
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140
havoc
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| n.大破坏，浩劫，大混乱，大杂乱 | |
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141
enamels
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| 搪瓷( enamel的名词复数 )； 珐琅； 釉药； 瓷漆 | |
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142
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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143
artistically
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| adv.艺术性地 | |
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144
domed
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| adj. 圆屋顶的, 半球形的, 拱曲的 动词dome的过去式和过去分词形式 | |
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soldered
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| v.（使）焊接，焊合( solder的过去式和过去分词 ) | |
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