This post will show some of the details I’ve added to the counter and shelves, things that were easier to add at this point, before I attach all the shelves permanently to the walls. The first was to add some trim and wainscot panels to the counter. I was inspired by the real-life Cantine del Vino già Schiavi, whose counter has similar panels in a lighter shade of wood. I had these wainscot panels left over from Pasticceria Penso but wanted to make them more elegant (and authentic) by notching out the corners. To do this, I used the same hole punch that I used on the wooden slats in Osteria Al Vecchio Stallo. Then, to cover up the uneven top edge of the balsa veneer, I used a strip of chair rail trim just below the countertop.
Where I ran into difficulties was finding the right color stain. The rest of the wood in this shop is stained dark walnut, so I initially stained the wainscot panels and trim a color called “special walnut,” which is generally quite a bit lighter. However, due to the variation in the degree to which each type of wood absorbed the stain, the wainscot panels actually ended up looking like the exact same color as the counter. In an effort to salvage the project, I tried a coat of golden oak stain on top of the special walnut, but this didn’t make any difference at all, nor did a third coat of the color “red chestnut.” Fortunately, I had just enough extra wainscoting and chair rail trim to try again, this time using only golden oak. This color created the perfect amount of contrast with the dark walnut, as shown below.
Next, I added some 1/32″ balsa as backing for this central section of shelving. Taking inspiration from the wall behind the bar in the actual shop, I then created a backsplash of tiles made from polymer clay. I used the same off-white color as for all of my white breads: a mix of Fimo vanilla, Fimo Soft sahara, Premo white, and translucent. To give the tiles a slight satiny sheen without any brushstrokes, I varnished them with PYMII spray. After gluing the tiles in place, I filled in the gaps with a grout made from plaster of Paris mixed with water and brown paint.
Behind the bar, the real-life Cantine del Vino già Schiavi has a panel made from what appears to be hammered copper. Even if that’s not its actual material, I wanted to create that same look in my shop. I started with a sheet of 26-gauge copper and hammered it with a metal ball tool, the kind used for sculpting clay. While this gave the metal the texture I was looking for, it was much too shiny, like a brand new penny. I had some extra copper to play with, so I experimented with various techniques to create a dark brown patina.
First, I tried applying a baking soda solution, but this just left a few patchy black areas, with the remainder of the sheet unaffected. Next, following instructions I found online, I placed the copper in a container with a couple of mashed hard-boiled eggs. This did produce some interesting effects, but the patina was more light gray than brown. Then, my husband suggested using fire to patina the copper, so I let him give that a try, holding it over the flame of our gas stove. This method was somewhat promising, as one section turned a nice dark brown. The problem, however, was that the area where the tongs were touching the copper bloomed into a myriad of colors. This would be great if I were going for the look of an oil slick, but it didn’t work for this project.
Finally, I gave in and ordered a bottle of liver of sulfur gel. My test pieces, however, weren’t very consistent, with the results ranging from a rainbow effect to light gray-beige to dark blue-gray. Eventually, I became impatient and decided to just go for it. This last piece, the one cut to size that I planned on using, turned out exactly like I’d envisioned: dark copper-brown with some aged spots.
To seal the metal and (hopefully) prevent further oxidation, I applied a coat of Renaissance Wax. Here is the copper panel glued in place above the counter.
