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+*** START OF THE PROJECT GUTENBERG EBOOK 75345 ***
+
+
+
+
+
+                                  THE
+
+                               PROCESS OF
+
+                          Gilding and Bronzing
+
+                            PICTURE FRAMES.
+
+
+
+
+                               ----------
+
+
+
+
+                               New York:
+                   GEORGE F. NESBITT & CO., PRINTERS
+                      COR. PEARL AND PINE STREETS.
+
+                                 1884.
+
+
+
+
+------------------------------------------------------------------------
+
+
+
+
+       Entered according to Act of Congress in the year 1884, by
+                            ISAAC H. WALKER,
+       In the office of the Librarian of Congress at Washington.
+
+
+
+
+------------------------------------------------------------------------
+
+
+
+
+                          PRELIMINARY REMARKS
+
+                                   ON
+
+                         Gilding and Bronzing.
+
+
+The art of gilding has been practiced from the earliest dates. Mention
+of it is made in the Scriptures, and it was known to the Egyptians, who
+made an extensive use of it in the ornamentation of their burial cases.
+It became to be generally used amongst the Romans soon after the
+downfall of Carthage, and was applied very profusely to the decoration
+of their dwellings and temples.
+
+During the middle ages, and when the seats of learning and civilization
+were located in Italy and among the Moorish Arabs in Spain, the most
+elaborate use of it was made in almost every branch of art. It entered
+largely into architectural decoration, and the cathedrals and mosques
+were favorite objects for its display.
+
+Among the Chinese, the use of gold leaf as a method of decoration has
+been practiced for an indefinite period, and its origin with them must
+be very ancient. Taken altogether, gilding is an art that has been and
+still is in more general use than any other; and the reason is, that it
+is almost always appropriate wherever called into requisition.
+
+The art of gilding and of bronzing can readily be acquired by any one
+who is disposed to devote care and attention to it. It is an art having
+few, if any, amateurs. Those who practice it are generally those who
+follow it as a trade, and, perhaps, for the reason that such persons
+have but little time to spare from their profession, there is so little
+written information found on the subject.
+
+The cyclopædias are exceedingly deficient in everything like a correct
+or reliable description of the art. The information which they give is
+mostly of an elementary character, and of a kind that is somewhat
+impracticable and very unavailable.
+
+It was the want of a reliable work on the subject that suggested to me
+the publication of such a general exposition of the whole matter as
+would prove useful to those who might desire to be informed on it. I do
+not propose to do more than give a description of the various processes,
+and to endeavor to make such a description as simple and lucid as
+possible. It is no part of a gilders business to make the frame which he
+has to gild. Such used to be the case, but now there are factories where
+the frame is turned out completely made. There are a number of such
+factories in New York, and the person requiring a frame has only to
+select the desired pattern and have it made up according to the
+dimensions of the picture to be framed. Neither do I think it necessary
+to introduce the subject of preparing those materials which are made
+expressly for the purpose by regular dealers, and which, of course, will
+then be found more reliable than when made by inexperienced hands. There
+are several respectable dealers in New York who keep for sale almost
+everything connected with the gilding and bronzing processes.
+
+At a time when every one is more or less interested in the subject of
+decorative art, and when many are seeking to qualify themselves towards
+proficiency in some one or other branch of it, perhaps no more
+appropriate subject could be offered to the public than that of gilding
+a picture-frame in all its parts.
+
+No fine picture should be without a fine frame, and even with a fine
+frame an indifferent picture is very much improved; but taste and
+discernment are both required in the selection of such a frame as either
+a fine or an indifferent picture may require; and, although the artist
+in general is supposed to be the best qualified to determine as to the
+manner in which his painting should be framed, the frame-maker is really
+more competent for that duty, and for the best of all reasons—that it is
+his specialty.
+
+Frames gilded in different colors of gold leaf are frequently seen, and,
+for some subjects, such frames may do very well; but, in general, the
+deep-colored gold is the most appropriate, and is the better suited to
+remain in favor with the public. There can hardly be anything richer
+than a frame finished in burnished and matted gold of a deep shade of
+color.
+
+Bronze frames, which have recently come so much into vogue, are destined
+to retain their hold upon the public esteem for a long time. They are a
+separate style of decoration, one that is very rich, and which admits of
+great variety in the preparation, and they are particularly appropriate
+to many subjects, such as water colors and engravings.
+
+The art of their preparation is comparatively new to this country,
+although it has been practiced for a long time in Europe; where,
+perhaps, the best work is yet done. It has hitherto been kept a profound
+secret by its votaries, and it has been a very difficult proceeding for
+an amateur to obtain the least insight into it. It is said that some
+bronzers, when practicing the art, shut themselves apart, in order to
+prevent their operations being watched. There is really no reason for so
+much secrecy on the part of those who have become possessed of the
+information concerning this process, for the process is, in fact, a very
+simple one. It does not require anything like the manipulation which
+gilding requires. It is rather more laborious, however, as the amount of
+burnishing of which it is susceptible is almost unlimited. This,
+however, is not labor lost, as it serves to enhance the attractiveness
+of the frame when finished.
+
+It is the practice to use different colored bronze powders in
+combination, and these combinations are very rich in their effect. The
+silver, copper and verde-antique make rich contrasts. There is a great
+field for the exercise of taste in the bronzing process, and those who
+are adepts in it can command high prices for their work. The only
+drawback, and it is equally a drawback to many other excellent
+processes, is, that its popularity has been the means of causing a vast
+deal of cheap and inferior work to be brought before the public; but
+work that is really fine will continue to be regarded with favor
+wherever it may be found.
+
+[Illustration]
+
+------------------------------------------------------------------------
+
+
+
+
+                          THE GILDING PROCESS.
+
+
+                                   I.
+
+I will now proceed to give a list and description of the various
+implements and materials which are required in the process of gilding
+picture frames.
+
+1.—A GILDING CUSHION, on which to lay the leaves of gold preparatory to
+cutting them into the sizes required for laying. This may be procured
+already made. It is made of a board one-half inch thick and nine and
+one-half inches long by five and one-half inches wide, covered with
+buckskin and padded with several thicknesses of Canton flannel. It
+usually has a shield of parchment, about four inches high, on one end,
+to protect the leaves from currents of air. Underneath, is a loop for
+the thumb, which is to be inserted in it when the cushion is to be held
+in the hand. There is also another loop to hold the gilding knife when
+not in use.
+
+2.—A GILDING KNIFE, for cutting the gold leaf. It should be double-edged
+and have a tolerably keen edge; not so much so as to cut the cushion,
+but sufficiently so to divide the leaf without tearing it. When it
+becomes dull it may be readily sharpened by rubbing the edges with a
+piece of very fine sand paper.
+
+3.—BRUSHES, both bristle and camel’s hair. Numbers 4 and 5, of the
+bristle brushes, flat, are the sizes mostly required, either for
+applying the white coat or the oil-size. For the camel’s hair brushes,
+numbers 4, 5 and 6 are very useful, as well as a number 6 or 8 lettering
+pencil (brush); also several fitch blenders, numbers 9 and 10 are good
+sizes; procure one of each.
+
+4.—BURNISHERS. These must be of several shapes and sizes. Every gilder
+will become accustomed to some particular shape and size, and practice
+only will determine the most desirable one; but for ordinary use, the
+following _shapes_ and _sizes_ will be found sufficient for almost any
+work:
+
+[Illustration: Three burnishers of differing thickness and shape,
+particularly the tapering of the tip]
+
+The burnishers should be made of flint, though agate is frequently used,
+particularly for burnishing silver leaf. They should be securely
+fastened in wooden handles by means of brass ferrules. These handles, as
+well as the stones, frequently become loosened from continual use and
+require refastening. This is done by renewing the filling with gum
+shellac or powdered rosin, and applying sufficient heat to set the
+stones. On cooling, they will be found to be again firm in their
+sockets. The same method may be pursued with regard to the handle. A
+little brick-dust mixed with the rosin gives a more secure hold.
+
+Burnishers, contrary to the general opinion of those who manufacture and
+sell them, should not be too highly polished, but the surface should be
+rather dull, as in this condition they take a better hold on the gold.
+If they have too much polish, they glide over the leaf without
+burnishing it. The polish may be subdued or removed by rubbing the
+burnishers with crocus martis and oil spread upon a chamois-skin. Care
+must, of course, be exercised in the operation, or too much of the
+polish will be removed and the burnisher will require to be repolished.
+It is, perhaps, needless to say that the burnishers should be kept
+scrupulously clean and free from everything like moisture and grease.
+
+5.—TIPS. These are made of both camel’s hair and badger hair. They are
+used to lift the gold leaf from the cushion, after it has been suitably
+cut, and to apply it to the surface prepared to receive it. When they do
+not freely take up the leaf, it is customary to pass them across the
+hair of the head, when they receive sufficient electricity from it to
+attach the gold at once to them. This attraction has been attributed to
+the moisture which the tips receive from the hair, but I think the
+notion is a mistaken one. The tips evidently become electrified, for
+they will, in that condition, attract the gold at some distance off.
+Moisture would not produce this effect. The camel’s hair tips are the
+best to use. Several of them will be required. It is a good plan to cut
+an old one down to within an inch and a half of the paste-board handle,
+and so use it, when very narrow slips of the leaf are being used; they
+can be lifted better and more safely with such a contrivance. In all
+cases, the tip should not be applied to more of the gold to be raised by
+it than is actually necessary for the purpose.
+
+6.—SOME GLUE, of the best white quality. Many gilders use gelatine
+instead of glue. For mixing with the burnish-size, the gelatine is
+undoubtedly the more desirable. The glue should be naturally white, not
+artificially so-colored; and it should be free from all grit and
+sediment. Cooper’s make, of both glue and gelatine, is undoubtedly the
+best, for all purposes of gilding. It acts more uniformly and is
+altogether the most reliable.
+
+7.—PIPE CLAY, for coating the composition parts of the frame. It usually
+comes in lumps and must be allowed to soak before mixing. The pipe clay
+has superseded the use of whiting for the two primary white coats to a
+frame. It is free from all grit, whilst whiting is not, and it gives a
+soft, smooth surface for the layer of gold leaf.
+
+8.—PARIS WHITE, or whiting. This is used for stopping up holes and other
+imperfections in the frame. It has more body than the pipe clay, and for
+that reason is used instead of it. Paris white is simply whiting
+precipitated in powder, and it is consequently freer from grit and other
+impurities.
+
+9.—OIL-SIZE. This is used for giving the adhesive coat to which the gold
+is applied when laid in oil.
+
+10.—BURNISH-SIZE. Used for giving the coat to which the gold is applied
+when a burnished surface is required.
+
+11.—COTTON BATTING, of a good quality. This is used for pressing down
+the gold leaf when it is being laid in oil.
+
+12.—GOLD LEAF, of the best quality of deep-colored gold. The leaf comes
+done up in books of twenty-five leaves each, and made into packs of
+twenty books each.
+
+13.—AN OX-GALL, strained into a bottle, with about two teaspoonfuls of
+carbolic acid to preserve it from decomposition. This, mixed with the
+white coat and the clear size, will prevent pin-holes and frothing. Some
+gilders use alcohol and even spirits of turpentine for this purpose;
+vinegar has also been recommended, but, after a thorough trial of all of
+them, I feel confident that the best results will be had with the
+ox-gall.
+
+14.—CARBOLIC ACID. The crystallized form is the best to use. It comes in
+bottles of a pound weight. It must be melted by placing the bottle in
+hot water; and, when the fluid condition takes place, add some water,
+when the whole mass will remain fluid. This is a perfect antiseptic and
+very useful to mix with the glue and gelatine, which are thereby
+preserved from decomposition.
+
+15.—SAND PAPER; numbers 0, ½ and 1.
+
+16.—ALCOHOL, of the highest proof. This is used in laying the gold leaf
+which is to be burnished.
+
+17.—JAPAN gold size.
+
+18.—SHELLAC VARNISH, both the brown and the white.
+
+19.—BURNISH-SIZE STRAINER.
+
+20.—SEVERAL CUPS, for mixing the different preparations. It is well to
+have covers for them, as all the preparations should be effectually
+protected from dust.
+
+21.—A GRADUATED GLASS MEASURE; one of four ounces capacity is the most
+useful.
+
+22.—SPOONS, for mixing with. The tea size is the best for general use.
+
+
+                                  II.
+
+The burnish-size should be always kept in a china or earthenware jar. If
+kept in a tin vessel, its moisture causes the tin to rust, and the
+deposit caused by the rust is highly injurious to the size. The oil-size
+may be kept in a tin vessel provided with a cover. When this size is
+required for use, it should be thoroughly stirred up, as the coloring
+matter of which it is in part composed, being the heaviest, has a
+tendency to settle and to leave the pure oil on the surface. Take out
+only a sufficient quantity for immediate use, as it sets quite rapidly,
+particularly in warm weather; and do not return any that may be left,
+back to the original vessel containing the size. Pay no attention to the
+skin which from time to time forms on the surface, when not in use.
+
+
+                                  III.
+
+We will now proceed in earnest to the serious work of gilding a picture
+frame.
+
+1.—Commence by weighing out one ounce and a half of glue or gelatine.
+Put this into a cup and pour over it eight ounces of water by
+measurement. This of course you will do with the aid of your graduated
+glass measure. Let the glue soak for several hours, and then set the cup
+in a pan of water and expose it to heat until the glue becomes perfectly
+fluid and completely melted. A teaspoonful of carbolic acid must now be
+stirred into it and thoroughly incorporated with it. The acid will
+preserve it, as already stated, from decomposition, and most effectually
+so and for any length of time. This glue should be strained before being
+used. Whenever a portion of it will be required for the preparations
+herein described, it is well to take out as much only as may be wanted
+for use, leaving the balance untouched; as by so doing its purity can be
+relied upon, and besides, the oftener glue is melted the weaker it
+becomes.
+
+2.—Lay down the frame which is to be gilded, back up, and, with a
+pencil, mark a line across the sections, if there be any, so as to be
+enabled to return them to their correct positions when ready to do so.
+Next, draw out the nails which fasten the sections together, and then
+take them apart. Now turn the sections face up and proceed to fill up
+any nail-holes about the corners, where the sides have been joined
+together, as well as all imperfections which may be found to exist.
+There are often fractures and indentations to be found, and these must
+be carefully repaired and the frame, or its several parts, made as
+perfect as can be. The joining at the corner must be filled up and made
+to appear solid.
+
+3.—The preparation with which all this is to be done is made as follows:
+
+Mix some of the Paris white with just sufficient water to moisten it
+thoroughly, and then add enough of the glue which has been described,
+and which has been melted for the purpose, to make the mixture into a
+thick paste. The Paris white might be mixed at once with the glue, but
+it does not seem to combine so well as when it has been previously
+moistened with water. It will be too lumpy and full of undissolved
+particles, unless mixed with the fingers; which operation would be
+generally objectionable. The paste should be just thick enough not to
+run.
+
+4.—Now proceed to fill up the nail-holes, corner joints and all other
+visible imperfections with this mixture; either by applying it with a
+small bristle brush and laying on a sufficient quantity, until the
+required places are fully stopped up, and, when perfectly dry,
+sand-papering them down smooth and uniform, or by applying it like
+putty, with the fingers. The latter method is not recommended, as it
+requires a peculiar facility in the management, which can only be
+acquired by considerable practice, and besides, it does not give as good
+results.
+
+5.—After smoothing down the fillings-up, the flats and hollows of the
+frame should be gone over first with number 0 sand-paper, and afterwards
+with a moistened rag, and be rubbed perfectly smooth and even and until
+the surface appears polished.
+
+6.—The frame will now be ready for the white coat, which must be
+prepared in the following manner and then applied to the composition
+parts only:
+
+Soak some of the pipe clay in water, barely enough of the latter to
+moisten the clay thoroughly, and then add enough of the glue, already
+prepared and in so hot a state as to render it of the consistency of
+thin cream; and add also a teaspoonful of the ox-gall, to prevent
+pin-holes forming and to keep it from frothing. A little practice will
+be required to determine invariably the requisite consistency, but the
+above directions will give a satisfactory result. The object of these
+two preliminary white coats is to kill any grease which may still adhere
+to the moulding, and which would otherwise prevent the proper drying of
+the oil-size. They also serve to give a soft and smooth appearance to
+these parts. The mixture as described must be applied warm, with a
+bristle brush (number 4 will do for the purpose), to all the composition
+parts of the frame. Apply this mixture sparingly, but sufficiently to
+cover the parts completely, and be careful to avoid bubbles while
+applying it. When the first coat is perfectly dry, apply the second.
+
+7.—When the last white coat is perfectly dry, two coats of clear size
+should be applied all over these portions which are to receive a coat of
+oil-size. Even where a portion of the composition is to be burnished,
+(which process is done in water,) it is better to go all over these
+parts with the clear size; but the hollows and flats which should be
+burnished must not be touched, if it be possible to avoid doing so.
+
+8.—The clear size is prepared as follows: Take one part of the melted
+glue, as already prepared, and mix it with two parts of water, adding a
+little of the ox-gall for the purpose already mentioned, and apply this
+mixture hot, when required, using a bristle brush for the purpose.
+
+9.—The next step will be to prepare, for the purpose, those portions of
+the frame which require to be burnished. They must be coated with from
+three to four coats of burnish-size. Those portions of the composition
+work which are to be burnished should have one or two preliminary coats
+of Paris white, applied rather thicker than the white coats of pipe
+clay; and these coats of Paris white are prepared in the same manner as
+are those of pipe clay. These coats, of course, must only be applied
+after the portions of the moulding which are to be burnished have been
+filled up and smoothed down. The filling up is done with thick whiting,
+and the smoothing down is to be done with a wet rag.
+
+10.—Many gilders use, as a primary coating for the burnish-size, a
+preparation which is called _yellow clay_. This yellow clay is supplied
+by dealers, and is to be mixed in just the same way that the
+burnish-size is. It gives a more elastic bed for the burnishing process;
+but the same result may be had by giving an extra coat or two of the
+burnish-size. I do not recommend its use, particularly for beginners. It
+only serves to complicate a process that is already complicated enough.
+
+11.—The burnish-size, as it is supplied by the dealers, is not in a
+condition to be at once used, but must be prepared for that purpose in
+the following manner:
+
+Take some of the crude burnish-size and mix it in a cup with water, add
+but little water at a time, and mix thoroughly, until the mixture barely
+drips from the spoon with which it is being mixed. Now add a teaspoonful
+or two of the hot glue already prepared. On stirring this up, the mass
+becomes very thick. Continue to add cautiously more glue until the whole
+begins to thin down, which it will do almost immediately. Perfect
+success in the burnish work depends almost entirely upon the proper
+mixing of the burnish-size. The various stages of the process must be
+invariably observed, just as they have been here described. If the
+operator exercises ordinary care only, he will rarely make a failure;
+though sometimes failure will occur, in spite of all precaution.
+
+This lot of burnish-size may be treated also as a stock to be used from
+as required. Owing to the carbolic acid which has been mixed with the
+glue, it will keep from decomposition an indefinite length of time.
+Without that antiseptic quality imparted to it, it would spoil in a few
+days.
+
+As now mixed, it will be found rather hard for the final coat or two,
+and it must be thinned down with thinner glue, or simply with water, for
+these coats; but for the first two coats it will be about right, and it
+must be made thin enough to lay smoothly and evenly on the flats and
+hollows without clogging the brush. When applied to the ornamental
+parts, it may be applied thicker. This burnish-size must be strained
+through the strainer. These strainers are procured from the dealers in
+gilding materials. Of course, the size will not run through the
+strainer, but it must be worked through by means of a bristle brush. It
+may as well be said here that all preparations should be strained, so as
+to avoid any particles of sediment which may be in the materials.
+
+12.—Two or three coats of this prepared burnish-size must now be applied
+to those parts which are to be burnished, using a round camel’s hair
+brush for the purpose. These coats must be laid on very smoothly and
+uniformly. The first coat will go on rather crudely, owing to the
+absorption of the size by the under surface; but the succeeding coats go
+on more freely. The size should be applied warm, not hot, and the brush
+used for the purpose should be stirred up frequently, so as to separate
+the hairs and allow it to work freely. The surplus quantity must be
+removed from the brush by drawing it across the sides of the cup. The
+two final coats should be applied in the same manner, but the size used
+must not be so strong with glue.
+
+When the final coat is dry, it will then be ready for the application of
+the gold leaf.
+
+13.—The burnishing of a frame is generally done before the oil gilding.
+The application of the gold leaf is made in the following manner:
+
+With the graduated glass measure, mix one part of alcohol with three
+parts of water. This solution, which is called _gin-water_, is the
+medium by which the gold leaf is applied and affixed to those parts
+which have been coated with the burnish-size. Lay the frame in a
+convenient position to work upon it, and have the gilding cushion, the
+knife, the tips and the gold leaf conveniently placed for use. The
+customary way of proceeding is to blow from the book on to the cushion
+as many leaves as it may be convenient to use. Some expertness is
+required to perform this operation successfully, and I believe that the
+time required to obtain this expertness is employed to better advantage
+in removing from the book, with the aid of the knife, a leaf at a time,
+when it is required to cut one into a number of pieces; or to cut the
+leaf as it lays in the book, either with the thumb-nail or with the
+knife. Of course, this will be a matter of choice with the gilder, as to
+how he will proceed; and he will be altogether governed by the greater
+facility with which he can work with either method. When the leaf has
+been cut into the required size for use, lift, by means of the tip,
+first drawn across the hair of the head, a piece of the gold leaf, and,
+after wetting thoroughly with the gin-water the portion where it is to
+be laid, using a camel’s hair brush for the purpose, apply the gold
+quickly.
+
+There seems to be in the gold an occult attraction towards the
+gin-water; for the leaf is at once drawn to it, and care must be
+exercised to have the leaf applied at once as nearly right as possible,
+for where it goes, there it must remain. It must not be touched until
+dry; although a cyclopædia informs us that the leaf must be pressed down
+with a camel’s hair brush. Such a proceeding would result in anything
+but a nice state of affairs, as any one will find who might make the
+experiment.
+
+14.—Never retouch the gold until dry. If the leaf cracks on going on,
+which it will do in inexperienced hands; do not mind it, but proceed to
+lay the gold where required. On moistening with the gin-water, be
+careful not to touch gold already laid, but wet close up to and
+adjoining it, and let the next piece of leaf lay or lap a little over
+the first. The moisture runs from the one into the other and makes the
+junction, when dry, complete.
+
+15.—When the lay is completed and dry, proceed to patch up any cracks
+and imperfections. This is done by using the number 6 or 8 lettering
+pencil, and with its long and flexible point, filled with sufficient of
+the gin-water, wetting the cracks and imperfections one by one and
+applying pieces of the gold leaf of the required sizes to cover them up
+completely.
+
+These pieces at once adhere to and join the lay perfectly, and, when
+they come to be burnished over, never show in the least where they have
+been applied, unless the burnish-size is too harsh and hard. In this
+case, the double layer of gold is brought out.
+
+16.—In about an hour or so, for the flats and hollows, and rather longer
+for those places where the moisture settles and collects, and
+consequently remains longer, the lay will be ready to be burnished. The
+burnisher should be held at an angle, not too perpendicularly, and
+applied to the gold, finishing as you go along, and burnishing only a
+small piece at a time. Burnish right over the leaf, just as it has been
+laid, without brushing off the loose gold leaf.
+
+17.—Burnish over the loose and the firm gold together. Sometimes, and
+most generally, there will be imperfections in the burnishing when first
+completed. These may arise from imperfect adhesion of the leaf, or from
+the leaf rubbing off when the burnish-size has been made too strong with
+glue, and so the surface has become harsh and hard. These imperfect
+places may be repaired by simply rubbing them with a wet rag to remove
+any leaf still adhering, and, when dry, going over them with a thin coat
+or two of burnish-size and relaying them with gold; but using the least
+moisture possible, or otherwise a stain will appear around the edges
+where the moisture has settled. Of course, such places must be
+reburnished. No moisture should ever be allowed to get on the leaf where
+another piece of gold leaf is not at once affixed, as otherwise a stain
+will be made which will mar the uniform purity of the burnish.
+
+18.—Sometimes the surface will chip under the burnisher, particularly
+about an edge or corner, when too much pressure is applied. This may
+arise from several causes, but most generally does from the fact that
+the first and second coats of size have not been of the proper strength,
+and consequently have a tendency to crumble when the burnisher is
+applied with more than ordinary force.
+
+19.—In very warm weather, gilders are in the habit of putting a piece of
+ice in the gin-water. The object of this is not particularly clear. It
+is claimed for it, however, that it causes the gin-water to lay better
+on the surface of the burnish-size.
+
+If a chip should occur in a prominent flat, there is no remedy but to
+wash off the gold leaf with a wet rag, and down to the hard finish, and
+to re-do the side entirely over. When not too prominent, fill up the
+chipped place with Paris white, and when dry, scrape smooth with a
+penknife, and after giving two or three coats of burnish-size, re-lay
+the gold and reburnish.
+
+Be careful, when burnishing edges and corners, to bear as lightly as
+possible with the burnisher, in order to avoid chipping.
+
+20.—Marks in the burnish sometimes appear which seem to be stains, and
+which branch off in many ways. Such defects are most probably caused by
+the gin-water being too strong.
+
+21.—The next step will be to apply the oil gold-size to these parts
+which have been left bare of gold and which have been thoroughly sized
+with the clear size. It is customary to previously go over with clear
+size these places which have been touched with burnish-size and which
+have not received any coating of gold; otherwise the oil-size would be
+absorbed and would leave no tacky surface to which the gold leaf would
+adhere. Sufficient of the gold-size should be taken from the can
+containing it, after first stirring the gold-size up thoroughly, so as
+to mix it completely with the oil which generally settles on top of it.
+A piece of tin or glass is the best thing to work from, and the bristle
+brush with which the size is to be applied should be well rubbed on it
+from time to time, to distribute the size thoroughly through the brush.
+
+  The size must be applied thoroughly to the frame, not too freely, so
+as to run and settle in hollows, but just enough to cover the surface
+with a complete coating. Be particular to work the size into all corners
+and crevices. The brush should not at any time be overcharged with the
+size. If the size is not evenly distributed over the frame, those places
+where it settles will simply coat over with a film, leaving the size
+underneath still fluid, and when the gold comes to be rubbed in with the
+blender, the film will quickly rub off, and the gold leaf will
+consequently not adhere.
+
+If any of the oil-size has got upon the burnished parts, which in spite
+of all care will occur at times, it must be rubbed off with a
+chamois-skin and if such places are still dingy after the oil gilding,
+they will admit of considerable polishing with the chamois.
+
+22.—The coat of oil-size must now be allowed to dry. The time required
+for this purpose depends altogether upon the drying quality of the size.
+It is generally made to dry in about ten hours and to retain its tacky
+surface for several days. It is well to allow it to stand for, at least,
+from twenty to twenty-four hours; particularly in the winter time, as
+the more thoroughly dry it is, the brighter will the gilding appear when
+completed.
+
+When this coating of oil-size has dried sufficiently, it will be ready
+to have the leaf applied. The leaf, as it is applied, is pressed down
+gently with a pad of cotton batting. When the frame has been completely
+covered, take a soft fitch blender and with it distribute the gold
+thoroughly into corners and depressions. Be careful not to rub too hard,
+or the gold will be either rubbed off or assume a greasy appearance. If
+this be all properly done, the gold will have almost as bright and
+polished an appearance as if it had been burnished.
+
+23.—After dusting the frame well, to remove as much of the dust and
+particles of leaf as possible, proceed to give these portions only of
+the frame which have been gilded in oil a coat of finishing-size, which
+is prepared in the following manner:
+
+Take one part of the melted gelatine or glue, as already prepared, and
+add to it four parts of water. Now, with a camel’s hair brush, apply
+this finishing size, hot, or nearly so, very sparingly, but very
+thoroughly. This finishing size may be colored, if desired, so as to
+deepen the shade of gold; using for that purpose, dragon’s blood, gum
+gamboge or aniline yellow. Only one coat of this size should be applied.
+This finishing-size serves to give a uniform appearance to the gold,
+slightly matting the metallic lustre of it, and having the effect also
+to absorb and remove the loose gold dust and particles still remaining.
+It also protects the surface from becoming dingy from smoke or other
+impurities which frequently prevail in rooms.
+
+24.—If it should be desired to render the appearance of the gold still
+duller or more matted, a very thin coat of the ormolu, which is
+hereinafter described, should be applied instead of the finishing-size.
+The more matted the appearance of the surrounding gold, the brighter and
+more lustrous will be the burnished part. This is altogether a matter of
+taste and fashion, sometimes a preference for one effect and sometimes
+for another, prevailing with the public.
+
+25.—Before the application of the finishing size, any imperfectly
+covered places must be regilded, using for a size the Japan gold size.
+This size sets in about an hour, and for that reason is preferable to
+the ordinary oil-size. The places to be regilt should be first gone over
+with shellac varnish. Whenever gold is to be regilt, it must be gone
+over with shellac, as otherwise it will have a greasy appearance.
+
+26.—Old frames that are to be regilt, should be first washed clean and
+free from dirt, and then be given a coat of shellac before the oil-size
+is applied. Where any burnish has been, it must, of course, be washed
+off before the reburnishing can be done.
+
+Some gilders use shellac varnish in place of the clear size, to size the
+frame for the oil gilding. It works well enough on the composition
+parts, but on the flats and hollows it dries so rapidly that it leaves
+ridges and inequalities to such an extent that the smoothness of the
+work is spoiled. For quick work, however, and by using the shellac very
+sparingly and giving two coats of it, very good results are to be had.
+
+27.—Flats are generally matted. Occupying, as they do, a prominent and
+conspicuous position, being next to the picture which is to occupy the
+frame, they require to be very perfectly done, and they are therefore
+done in _water-gilt_, and subsequently matted with a coat and sometimes
+with two of ormolu. The flat to be matted is proceeded with as follows:
+
+After all imperfections have been removed, it must be rubbed smooth with
+very fine sand paper and polished with a moist rag. Three coats of
+burnish-size are then applied very evenly and smoothly to it, avoiding
+all marks of the brush where possible; or two coats of yellow clay,
+prepared in the same manner as the burnish-size, and afterwards two
+coats of burnish-size, are given. When the final coat is sufficiently
+dry, the flat must be polished with a piece of coarse paper, or it may
+even be burnished, when time is no object. If the inside edge should be
+intended to be burnished after being laid in gold, that part must not be
+polished, nor receive the coat of very thin glue water, which is to be
+applied after the polishing process to all that part which is to be
+matted. This coat of glue water must be applied very evenly and freely
+to the flat, avoiding bubbles if possible. When dry, the flat is all
+laid in gold in the same manner as proceeded with when laying the gold
+for the burnish work.
+
+28.—The best plan to lay a perfect flat is to double-gild it, which
+consists in simply laying on another coat of gold after the first has
+dried. The first coat when dry, as well as the second, must be rubbed
+smooth with a wad of cotton batting. Care must be exercised during this
+process, in order to avoid, as much as possible, disturbing the lay. To
+lay a second coat over the first, the gin-water must be washed over at
+once, so as to avoid washing up the gold leaf.
+
+29.—After the gold has been rubbed smooth with the cotton, a coat of
+ormolu must be applied to the unburnished part, to impart to it the
+matted appearance required. The ormolu should be applied warm and by
+means of a camel’s hair brush, and the application must be very nicely
+and carefully done.
+
+30.—The following is the manner in which the ormolu is prepared:
+
+Take a teaspoonful of either the tincture of gum benzoin or of white
+shellac varnish, and mix it in a cup with about twice or three times its
+bulk of the highest proof alcohol. Now have ready a hot solution of glue
+or of gelatine, of about the same strength as that of the finishing
+size. The quantity should be about one-half a teacupful. This must be
+poured quickly and all at once into the solution of the gum benzoin or
+of shellac, and the result will be a perfect emulsion of the gum, which
+will be of a milky white appearance. This, of course, should be
+strained, and is to be applied as already described. If the first coat
+should appear spotty and streaky, a second one will be necessary. In
+applying either the finishing size or the ormolu, it is well to have a
+lump of alum convenient, to which, from time to time, the brush may be
+applied. This will, in the case of either, cause it to go on in a better
+manner and to lay more evenly.
+
+The ormolu, as prepared by the above method, will keep for any length of
+time. It may also be slightly colored, if it be desired to give the gold
+a deeper tinge.
+
+31.—The frame will now be about finished, as far as the gilding is
+concerned. The sections must now be returned to their respective places
+and securely nailed together.
+
+The outside edge of the frame, if it has been burnished, will require no
+further preparation, but if it has been gilded in oil, or if it has
+simply been laid in water, it should have a coat of white spirit varnish
+applied with a camel’s hair brush. This coating of varnish will render
+the layer of leaf sufficiently hard to be handled without injury to it.
+
+32.—When the edge has not been gilded at all, it is the practice to give
+it two coats of yellow ochre, mixed about as strong as those of the pipe
+clay and applied with a bristle brush. The yellow ochre should be
+strained before being applied.
+
+33.—Before anything has been done to the frame, and after the sections
+have been taken apart, it is well to protect the outside corners with
+pieces of wood securely fastened to the back. This will prevent them
+from being injured while being gilded. Gilders generally suspend a frame
+when not being worked upon, to some projection, to keep it out of the
+way of injury; but, with the corners protected, it may be stood anywhere
+with safety.
+
+34.—In the foregoing description of the process of gilding, the
+burnished part has been described as being done before the oil gilding.
+The oil gilding may, however, be done first and the burnishing
+afterwards. This manner of proceeding is generally practiced in Europe,
+but not so much in this country.
+
+However, when much burnishing is to be done, this method is recommended.
+All those parts of the frame which are to be oil gilded must be coated
+with the oil gold-size; and wherever this size has got upon places to be
+burnished, it must be scrupulously wiped off. Then, after the size has
+set and before it has been gilded, all these parts which are to be
+burnished must be gone over with a coat or two of pipe clay, to which
+has been added an extra quantity of ox-gall, in order to cause these
+coats to lay perfectly over any spots which the oil-size may have
+touched. Then apply the burnish-size, as previously described. When
+burnishing, be very careful not to touch with the burnisher those parts
+which have been oil gilded, and do not burnish too close to them.
+
+35.—Sanded work is used very much in combination with composition on
+picture-frames. The sand, or crushed quartz, is made to adhere by means
+of glue. Such sanded work must have a very thorough coating of Paris
+white before being gilded.
+
+36.—Plain wood, where the grain is to be shown after being gilt, must be
+well treated with shellac before having the size applied.
+
+------------------------------------------------------------------------
+
+
+
+
+                         THE BRONZING PROCESS.
+
+
+                                   I.
+
+The implements and materials required for the bronzing process are the
+same as those required for gilding, with the exception of the gold leaf,
+the cushion knife and tips; and with the addition of the BRONZE POWDERS
+of the necessary colors, and of COPAL VARNISH. These may be obtained
+from any dealer in art materials; but, of course, those of the best
+quality only should be used.
+
+
+                                  II.
+
+1.—The frame which is to be bronzed must be proceeded with in the same
+manner as described in the gilding process. That is to say, all
+imperfections must be first remedied and the frame put in perfect order.
+
+2.—Two coats of pipe clay are then to be applied to all of the
+composition work, using a bristle brush for that purpose. The pipe clay
+is to be prepared as already described for the gilding process.
+
+3.—Two coats of burnish-size must next be applied all over the frame,
+using a bristle brush instead of a camel’s hair brush on the composition
+parts. For the smooth parts of the frame, a camel’s hair brush may be
+used, as a more even surface may be obtained in that way. The
+burnish-size should be applied very sparingly, so as not to clog up the
+ornamental parts of the frame. After having given the frame two thorough
+coats of the burnish-size, a third and final coat of the same size must
+be applied. To this final coat, before being applied, should be added a
+small quantity of powdered lamp black. The addition of the lamp black is
+not absolutely necessary, however, as the object for which it is used is
+simply to give a darker appearance to the final coat, which, in the
+crevices and hollows, when the whole work receives the varnish coat,
+then assumes that antique appearance. The lamp black rather impairs the
+burnishing quality of the size, though not to any serious extent.
+
+4.—After the final coat has been applied, put some of the bronze powder
+which is to be used into a small saucer. A very little bronze powder
+will go a great way. In another saucer, pour a weak solution of gelatine
+or of gum arabic. This must be just sufficiently strong to hold the
+bronze powder on the frame. The usual way of proceeding, in order to
+apply the bronze powder, is to dip the fingers first into the gelatine
+or gum arabic, and then into the bronze powder, and proceed to rub it on
+to the work to be bronzed. It may be applied with a bristle brush, and,
+where the powder is to be inserted into cracks and crevices, it must be
+so applied. The object of using the fingers is, that with them a
+smoother and thinner coat can be obtained; and the smoother and thinner
+the coat, the better will it burnish.
+
+5.—When the frame has been completely covered and the coating is
+sufficiently dry, all the flat and smooth parts of the frame, and all
+those parts of the composition work also which are in relief, must be
+completely burnished. This part of the work requires a great deal of
+patience and time; but one is fully repaid for the labor bestowed, in
+the brilliancy of the work when done.
+
+6.—After the frame has been burnished sufficiently, a thin coat of copal
+varnish is to be given all over it. The varnish is intended to protect
+the bronze from tarnishing through contact with the air, as well as from
+any moisture which might accidentally get on the frame, and which, of
+course, would remove the film of bronze.
+
+[Illustration]
+
+------------------------------------------------------------------------
+
+                         =Transcriber’s Notes=
+
+ ● Missing or obscured punctuation was silently corrected.
+ ● Typographical errors were silently corrected.
+ ● Inconsistent spelling and hyphenation were made consistent only when
+   a predominant form was found in this book.
+ ● Text in italics is enclosed by underscores (_italics_).
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 75345 ***