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Scottish charm-stones are typically large smooth rounded pieces of rock crystal or other forms of quartz. They were credited with healing or quasi-magical powers, often through water that the charmstone had been dipped into, which was considered efficacious against various ills of both humans and farm animals.
First, the wood is cut, sanded and prepared with beveled grooves that make each plank appear as if it were a series of stone blocks. Second, the wood is painted with a thick coat of paint. Third, while the paint is still wet, sand is thrown or air blasted onto the planks until no more sand will stick. After the paint dries the plank is ready ...
Trompe-l'œil, "fool the eye" in French, is a realistic painting technique often used in murals, and to create architectural details as well as depth and 3 dimensionality. Venetian plaster is a smooth and often shiny plaster design that appears textured but is smooth to the touch. Venetian plaster is one of the most traditional plaster decorations.
Slates can also be set into walls to provide a rudimentary damp-proof membrane. Small offcuts are used as shims to level floor joists. In areas where slate is plentiful it is also used in pieces of various sizes for building walls and hedges, sometimes combined with other kinds of stone.
A sett, also known as a block or Belgian block, [1] is a broadly rectangular quarried stone used in paving roads and walkways. [ 2 ] [ 3 ] Formerly in widespread use, particularly on steeper streets because setts provided horses' hooves with better grip than a smooth surface, they are now encountered more usually as decorative stone paving in ...
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Harling is a rough-cast wall finish consisting of lime and aggregate, known for its rough texture. [1] Many castles and other buildings in Scotland and Ulster have walls finished with harling. It is also used on contemporary buildings, where it protects against the wet Scottish and Ulster climates and eliminates the need for paint.
In this period a Scottish "grand tour" developed with large number of English artists, including Turner, flocking to the Highlands to paint and draw. [60] From the 1870s Farquharson was a major figure in interpreting Scottish landscapes, specialising in snowscapes and sheep, and using a mobile heated studio in order to capture the conditions ...
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