,,the ,,process ,,of ,gilding and ,bronzing ,,picture ,,frames4 ---------- ,new ,york3 ,,george ,f4 ,,nesbitt ,,co41 ,,printers ,,cor4 ,,pearl ,,and ,,pine ,,streets4 #ahhd4 ---------------------------------------- -------------------------------- ,entered according to ,act of ,congress in the year #ahhd1 by ,,isaac ,h4 ,,walker1 ,in the office of the ,librarian of ,congress at ,washington4 ---------------------------------------- -------------------------------- ,,preliminary ,,remarks ,,on ,gilding and ,bronzing4 ,the art of gilding has been practiced from the earliest dates4 ,mention of it is made in the ,scriptures1 and it was known to the ,egyptians1 who made an extensive use of it in the ornamentation of their burial cases4 ,it became to be generally used amongst the ,romans soon after the downfall of ,carthage1 and was applied very profusely to the decoration of their dwellings and temples4 ,during the middle ages1 and when the seats of learning and civilization were located in ,italy and among the ,moorish ,arabs in ,spain1 the most elaborate use of it was made in almost every branch of art4 ,it entered largely into architectural decoration1 and the cathedrals and mosques were favorite objects for its display4 ,among the ,chinese1 the use of gold leaf as a method of decoration has been practiced for an indefinite period1 and its origin with them must be very ancient4 ,taken altogether1 gilding is an art that has been and still is in more general use than any other2 and the reason is1 that it is almost always appropriate wherever called into requisition4 ,the art of gilding and of bronzing can readily be acquired by any one who is disposed to devote care and attention to it4 ,it is an art having few1 if any1 amateurs4 ,those who practice it are generally those who follow it as a trade1 and1 perhaps1 for the reason that such persons have but little time to spare from their profession1 there is so little written information found on the subject4 ,the cyclopdias are exceedingly deficient in everything like a correct or reliable description of the art4 ,the information which they give is mostly of an elementary character1 and of a kind that is somewhat impracticable and very unavailable4 ,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 it4 ,i do not propose to do more than give a description of the various processes1 and to endeavor to make such a description as simple and lucid as possible4 ,it is no part of a gilders business to make the frame which he has to gild4 ,such used to be the case1 but now there are factories where the frame is turned out completely made4 ,there are a number of such factories in ,new ,york1 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 framed4 ,neither do ,i think it necessary to introduce the subject of preparing those materials which are made expressly for the purpose by regular dealers1 and which1 of course1 will then be found more reliable than when made by inexperienced hands4 ,there are several respectable dealers in ,new ,york who keep for sale almost everything connected with the gilding and bronzing processes4 ,at a time when every one is more or less interested in the subject of decorative art1 and when many are seeking to qualify themselves towards proficiency in some one or other branch of it1 perhaps no more appropriate subject could be offered to the public than that of gilding a picture-frame in all its parts4 ,no fine picture should be without a fine frame1 and even with a fine frame an indifferent picture is very much improved2 but taste and discernment are both required in the selection of such a frame as either a fine or an indifferent picture may require2 and1 although the artist in general is supposed to be the best qualified to determine as to the manner in which his painting should be framed1 the frame-maker is really more competent for that duty1 and for the best of all reasons--that it is his specialty4 ,frames gilded in different colors of gold leaf are frequently seen1 and1 for some subjects1 such frames may do very well2 but1 in general1 the deep-colored gold is the most appropriate1 and is the better suited to remain in favor with the public4 ,there can hardly be anything richer than a frame finished in burnished and matted gold of a deep shade of color4 ,bronze frames1 which have recently come so much into vogue1 are destined to retain their hold upon the public esteem for a long time4 ,they are a separate style of decoration1 one that is very rich1 and which admits of great variety in the preparation1 and they are particularly appropriate to many subjects1 such as water colors and engravings4 ,the art of their preparation is comparatively new to this country1 although it has been practiced for a long time in ,europe2 where1 perhaps1 the best work is yet done4 ,it has hitherto been kept a profound secret by its votaries1 and it has been a very difficult proceeding for an amateur to obtain the least insight into it4 ,it is said that some bronzers1 when practicing the art1 shut themselves apart1 in order to prevent their operations being watched4 ,there is really no reason for so much secrecy on the part of those who have become possessed of the information concerning this process1 for the process is1 in fact1 a very simple one4 ,it does not require anything like the manipulation which gilding requires4 ,it is rather more laborious1 however1 as the amount of burnishing of which it is susceptible is almost unlimited4 ,this1 however1 is not labor lost1 as it serves to enhance the attractiveness of the frame when finished4 ,it is the practice to use different colored bronze powders in combination1 and these combinations are very rich in their effect4 ,the silver1 copper and verde-antique make rich contrasts4 ,there is a great field for the exercise of taste in the bronzing process1 and those who are adepts in it can command high prices for their work4 ,the only drawback1 and it is equally a drawback to many other excellent processes1 is1 that its popularity has been the means of causing a vast deal of cheap and inferior work to be brought before the public2 but work that is really fine will continue to be regarded with favor wherever it may be found4 ,illustration ---------------------------------------- -------------------------------- ,,the ,,gilding ,,process4 ,i4 ,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 frames4 #a4--;,a ,,gilding ,,cushion1 on which to lay the leaves of gold preparatory to cutting them into the sizes required for laying4 ,this may be procured already made4 ,it is made of a board one-half inch thick and nine and one-half inches long by five and one-half inches wide1 covered with buckskin and padded with several thicknesses of ,canton flannel4 ,it usually has a shield of parchment1 about four inches high1 on one end1 to protect the leaves from currents of air4 ,underneath1 is a loop for the thumb1 which is to be inserted in it when the cushion is to be held in the hand4 ,there is also another loop to hold the gilding knife when not in use4 #b4--;,a ,,gilding ,,knife1 for cutting the gold leaf4 ,it should be double-edged and have a tolerably keen edge2 not so much so as to cut the cushion1 but sufficiently so to divide the leaf without tearing it4 ,when it becomes dull it may be readily sharpened by rubbing the edges with a piece of very fine sand paper4 #c4--;,,brushes1 both bristle and camel's hair4 ,numbers #d and #e1 of the bristle brushes1 flat1 are the sizes mostly required1 either for applying the white coat or the oil-size4 ,for the camel's hair brushes1 numbers #d1 #e and #f are very useful1 as well as a number #f or #h lettering pencil 7brush72 also several fitch blenders1 numbers #i and #aj are good sizes2 procure one of each4 #d4--;,,burnishers4 ,these must be of several shapes and sizes4 ,every gilder will become accustomed to some particular shape and size1 and practice only will determine the most desirable one2 but for ordinary use1 the following shapes and sizes will be found sufficient for almost any work3 ,illustration3 ,three burnishers of differing thickness and shape1 particularly the tapering of the tip ,the burnishers should be made of flint1 though agate is frequently used1 particularly for burnishing silver leaf4 ,they should be securely fastened in wooden handles by means of brass ferrules4 ,these handles1 as well as the stones1 frequently become loosened from continual use and require refastening4 ,this is done by renewing the filling with gum shellac or powdered rosin1 and applying sufficient heat to set the stones4 ,on cooling1 they will be found to be again firm in their sockets4 ,the same method may be pursued with regard to the handle4 ,a little brick-dust mixed with the rosin gives a more secure hold4 ,burnishers1 contrary to the general opinion of those who manufacture and sell them1 should not be too highly polished1 but the surface should be rather dull1 as in this condition they take a better hold on the gold4 ,if they have too much polish1 they glide over the leaf without burnishing it4 ,the polish may be subdued or removed by rubbing the burnishers with crocus martis and oil spread upon a chamois-skin4 ,care must1 of course1 be exercised in the operation1 or too much of the polish will be removed and the burnisher will require to be repolished4 ,it is1 perhaps1 needless to say that the burnishers should be kept scrupulously clean and free from everything like moisture and grease4 #e4--,,tips4 ,these are made of both camel's hair and badger hair4 ,they are used to lift the gold leaf from the cushion1 after it has been suitably cut1 and to apply it to the surface prepared to receive it4 ,when they do not freely take up the leaf1 it is customary to pass them across the hair of the head1 when they receive sufficient electricity from it to attach the gold at once to them4 ,this attraction has been attributed to the moisture which the tips receive from the hair1 but ,i think the notion is a mistaken one4 ,the tips evidently become electrified1 for they will1 in that condition1 attract the gold at some distance off4 ,moisture would not produce this effect4 ,the camel's hair tips are the best to use4 ,several of them will be required4 ,it is a good plan to cut an old one down to within an inch and a half of the paste-board handle1 and so use it1 when very narrow slips of the leaf are being used2 they can be lifted better and more safely with such a contrivance4 ,in all cases1 the tip should not be applied to more of the gold to be raised by it than is actually necessary for the purpose4 #f4--,,some ,,glue1 of the best white quality4 ,many gilders use gelatine instead of glue4 ,for mixing with the burnish-size1 the gelatine is undoubtedly the more desirable4 ,the glue should be naturally white1 not artificially so-colored2 and it should be free from all grit and sediment4 ,cooper's make1 of both glue and gelatine1 is undoubtedly the best1 for all purposes of gilding4 ,it acts more uniformly and is altogether the most reliable4 #g4--,,pipe ,,clay1 for coating the composition parts of the frame4 ,it usually comes in lumps and must be allowed to soak before mixing4 ,the pipe clay has superseded the use of whiting for the two primary white coats to a frame4 ,it is free from all grit1 whilst whiting is not1 and it gives a soft1 smooth surface for the layer of gold leaf4 #h4--,,paris ,,white1 or whiting4 ,this is used for stopping up holes and other imperfections in the frame4 ,it has more body than the pipe clay1 and for that reason is used instead of it4 ,paris white is simply whiting precipitated in powder1 and it is consequently freer from grit and other impurities4 #i4--,,oil-,,size4 ,this is used for giving the adhesive coat to which the gold is applied when laid in oil4 #aj4--;,,burnish-,,size4 ,used for giving the coat to which the gold is applied when a burnished surface is required4 #aa4--;,,cotton ,,batting1 of a good quality4 ,this is used for pressing down the gold leaf when it is being laid in oil4 #ab4--;,,gold ,,leaf1 of the best quality of deep-colored gold4 ,the leaf comes done up in books of twenty-five leaves each1 and made into packs of twenty books each4 #ac4--;,,an ,,ox-,,gall1 strained into a bottle1 with about two teaspoonfuls of carbolic acid to preserve it from decomposition4 ,this1 mixed with the white coat and the clear size1 will prevent pin-holes and frothing4 ,some gilders use alcohol and even spirits of turpentine for this purpose2 vinegar has also been recommended1 but1 after a thorough trial of all of them1 ,i feel confident that the best results will be had with the ox-gall4 #ad4--;,,carbolic ,,acid4 ,the crystallized form is the best to use4 ,it comes in bottles of a pound weight4 ,it must be melted by placing the bottle in hot water2 and1 when the fluid condition takes place1 add some water1 when the whole mass will remain fluid4 ,this is a perfect antiseptic and very useful to mix with the glue and gelatine1 which are thereby preserved from decomposition4 #ae4--,,sand ,,paper2 numbers #j1 and #a4 #af4--;,,alcohol1 of the highest proof4 ,this is used in laying the gold leaf which is to be burnished4 #ag4--;,,japan gold size4 #ah4--,,shellac ,,varnish1 both the brown and the white4 #ai4--;,,burnish-,,size ,,strainer4 #bj4--,,several ,,cups1 for mixing the different preparations4 ,it is well to have covers for them1 as all the preparations should be effectually protected from dust4 #ba4--;,a ,,graduated ,,glass ,,measure2 one of four ounces capacity is the most useful4 #bb4--,,spoons1 for mixing with4 ,the tea size is the best for general use4 ,,ii4 ,the burnish-size should be always kept in a china or earthenware jar4 ,if kept in a tin vessel1 its moisture causes the tin to rust1 and the deposit caused by the rust is highly injurious to the size4 ,the oil-size may be kept in a tin vessel provided with a cover4 ,when this size is required for use1 it should be thoroughly stirred up1 as the coloring matter of which it is in part composed1 being the heaviest1 has a tendency to settle and to leave the pure oil on the surface4 ,take out only a sufficient quantity for immediate use1 as it sets quite rapidly1 particularly in warm weather2 and do not return any that may be left1 back to the original vessel containing the size4 ,pay no attention to the skin which from time to time forms on the surface1 when not in use4 ,,iii4 ,we will now proceed in earnest to the serious work of gilding a picture frame4 #a4--;,commence by weighing out one ounce and a half of glue or gelatine4 ,put this into a cup and pour over it eight ounces of water by measurement4 ,this of course you will do with the aid of your graduated glass measure4 ,let the glue soak for several hours1 and then set the cup in a pan of water and expose it to heat until the glue becomes perfectly fluid and completely melted4 ,a teaspoonful of carbolic acid must now be stirred into it and thoroughly incorporated with it4 ,the acid will preserve it1 as already stated1 from decomposition1 and most effectually so and for any length of time4 ,this glue should be strained before being used4 ,whenever a portion of it will be required for the preparations herein described1 it is well to take out as much only as may be wanted for use1 leaving the balance untouched2 as by so doing its purity can be relied upon1 and besides1 the oftener glue is melted the weaker it becomes4 #b4--,lay down the frame which is to be gilded1 back up1 and1 with a pencil1 mark a line across the sections1 if there be any1 so as to be enabled to return them to their correct positions when ready to do so4 ,next1 draw out the nails which fasten the sections together1 and then take them apart4 ,now turn the sections face up and proceed to fill up any nail-holes about the corners1 where the sides have been joined together1 as well as all imperfections which may be found to exist4 ,there are often fractures and indentations to be found1 and these must be carefully repaired and the frame1 or its several parts1 made as perfect as can be4 ,the joining at the corner must be filled up and made to appear solid4 #c4--,the preparation with which all this is to be done is made as follows3 ,mix some of the ,paris white with just sufficient water to moisten it thoroughly1 and then add enough of the glue which has been described1 and which has been melted for the purpose1 to make the mixture into a thick paste4 ,the ,paris white might be mixed at once with the glue1 but it does not seem to combine so well as when it has been previously moistened with water4 ,it will be too lumpy and full of undissolved particles1 unless mixed with the fingers2 which operation would be generally objectionable4 ,the paste should be just thick enough not to run4 #d4--,now proceed to fill up the nail-holes1 corner joints and all other visible imperfections with this mixture2 either by applying it with a small bristle brush and laying on a sufficient quantity1 until the required places are fully stopped up1 and1 when perfectly dry1 sand-papering them down smooth and uniform1 or by applying it like putty1 with the fingers4 ,the latter method is not recommended1 as it requires a peculiar facility in the management1 which can only be acquired by considerable practice1 and besides1 it does not give as good results4 #e4--;,after smoothing down the fillings-up1 the flats and hollows of the frame should be gone over first with number #j sand-paper1 and afterwards with a moistened rag1 and be rubbed perfectly smooth and even and until the surface appears polished4 #f4--,the frame will now be ready for the white coat1 which must be prepared in the following manner and then applied to the composition parts only3 ,soak some of the pipe clay in water1 barely enough of the latter to moisten the clay thoroughly1 and then add enough of the glue1 already prepared and in so hot a state as to render it of the consistency of thin cream2 and add also a teaspoonful of the ox-gall1 to prevent pin-holes forming and to keep it from frothing4 ,a little practice will be required to determine invariably the requisite consistency1 but the above directions will give a satisfactory result4 ,the object of these two preliminary white coats is to kill any grease which may still adhere to the moulding1 and which would otherwise prevent the proper drying of the oil-size4 ,they also serve to give a soft and smooth appearance to these parts4 ,the mixture as described must be applied warm1 with a bristle brush 7number #d will do for the purpose71 to all the composition parts of the frame4 ,apply this mixture sparingly1 but sufficiently to cover the parts completely1 and be careful to avoid bubbles while applying it4 ,when the first coat is perfectly dry1 apply the second4 #g4--,when the last white coat is perfectly dry1 two coats of clear size should be applied all over these portions which are to receive a coat of oil-size4 ,even where a portion of the composition is to be burnished1 7which process is done in water17 it is better to go all over these parts with the clear size2 but the hollows and flats which should be burnished must not be touched1 if it be possible to avoid doing so4 #h4--,the clear size is prepared as follows3 ,take one part of the melted glue1 as already prepared1 and mix it with two parts of water1 adding a little of the ox-gall for the purpose already mentioned1 and apply this mixture hot1 when required1 using a bristle brush for the purpose4 #i4--,the next step will be to prepare1 for the purpose1 those portions of the frame which require to be burnished4 ,they must be coated with from three to four coats of burnish-size4 ,those portions of the composition work which are to be burnished should have one or two preliminary coats of ,paris white1 applied rather thicker than the white coats of pipe clay2 and these coats of ,paris white are prepared in the same manner as are those of pipe clay4 ,these coats1 of course1 must only be applied after the portions of the moulding which are to be burnished have been filled up and smoothed down4 ,the filling up is done with thick whiting1 and the smoothing down is to be done with a wet rag4 #aj4--,many gilders use1 as a primary coating for the burnish-size1 a preparation which is called yellow clay4 ,this yellow clay is supplied by dealers1 and is to be mixed in just the same way that the burnish-size is4 ,it gives a more elastic bed for the burnishing process2 but the same result may be had by giving an extra coat or two of the burnish-size4 ,i do not recommend its use1 particularly for beginners4 ,it only serves to complicate a process that is already complicated enough4 #aa4--,the burnish-size1 as it is supplied by the dealers1 is not in a condition to be at once used1 but must be prepared for that purpose in the following manner3 ,take some of the crude burnish-size and mix it in a cup with water1 add but little water at a time1 and mix thoroughly1 until the mixture barely drips from the spoon with which it is being mixed4 ,now add a teaspoonful or two of the hot glue already prepared4 ,on stirring this up1 the mass becomes very thick4 ,continue to add cautiously more glue until the whole begins to thin down1 which it will do almost immediately4 ,perfect success in the burnish work depends almost entirely upon the proper mixing of the burnish-size4 ,the various stages of the process must be invariably observed1 just as they have been here described4 ,if the operator exercises ordinary care only1 he will rarely make a failure2 though sometimes failure will occur1 in spite of all precaution4 ,this lot of burnish-size may be treated also as a stock to be used from as required4 ,owing to the carbolic acid which has been mixed with the glue1 it will keep from decomposition an indefinite length of time4 ,without that antiseptic quality imparted to it1 it would spoil in a few days4 ,as now mixed1 it will be found rather hard for the final coat or two1 and it must be thinned down with thinner glue1 or simply with water1 for these coats2 but for the first two coats it will be about right1 and it must be made thin enough to lay smoothly and evenly on the flats and hollows without clogging the brush4 ,when applied to the ornamental parts1 it may be applied thicker4 ,this burnish-size must be strained through the strainer4 ,these strainers are procured from the dealers in gilding materials4 ,of course1 the size will not run through the strainer1 but it must be worked through by means of a bristle brush4 ,it may as well be said here that all preparations should be strained1 so as to avoid any particles of sediment which may be in the materials4 #ab4--,two or three coats of this prepared burnish-size must now be applied to those parts which are to be burnished1 using a round camel's hair brush for the purpose4 ,these coats must be laid on very smoothly and uniformly4 ,the first coat will go on rather crudely1 owing to the absorption of the size by the under surface2 but the succeeding coats go on more freely4 ,the size should be applied warm1 not hot1 and the brush used for the purpose should be stirred up frequently1 so as to separate the hairs and allow it to work freely4 ,the surplus quantity must be removed from the brush by drawing it across the sides of the cup4 ,the two final coats should be applied in the same manner1 but the size used must not be so strong with glue4 ,when the final coat is dry1 it will then be ready for the application of the gold leaf4 #ac4--,the burnishing of a frame is generally done before the oil gilding4 ,the application of the gold leaf is made in the following manner3 ,with the graduated glass measure1 mix one part of alcohol with three parts of water4 ,this solution1 which is called gin-water1 is the medium by which the gold leaf is applied and affixed to those parts which have been coated with the burnish-size4 ,lay the frame in a convenient position to work upon it1 and have the gilding cushion1 the knife1 the tips and the gold leaf conveniently placed for use4 ,the customary way of proceeding is to blow from the book on to the cushion as many leaves as it may be convenient to use4 ,some expertness is required to perform this operation successfully1 and ,i believe that the time required to obtain this expertness is employed to better advantage in removing from the book1 with the aid of the knife1 a leaf at a time1 when it is required to cut one into a number of pieces2 or to cut the leaf as it lays in the book1 either with the thumb-nail or with the knife4 ,of course1 this will be a matter of choice with the gilder1 as to how he will proceed2 and he will be altogether governed by the greater facility with which he can work with either method4 ,when the leaf has been cut into the required size for use1 lift1 by means of the tip1 first drawn across the hair of the head1 a piece of the gold leaf1 and1 after wetting thoroughly with the gin-water the portion where it is to be laid1 using a camel's hair brush for the purpose1 apply the gold quickly4 ,there seems to be in the gold an occult attraction towards the gin-water2 for the leaf is at once drawn to it1 and care must be exercised to have the leaf applied at once as nearly right as possible1 for where it goes1 there it must remain4 ,it must not be touched until dry2 although a cyclopdia informs us that the leaf must be pressed down with a camel's hair brush4 ,such a proceeding would result in anything but a nice state of affairs1 as any one will find who might make the experiment4 #ad4--,never retouch the gold until dry4 ,if the leaf cracks on going on1 which it will do in inexperienced hands2 do not mind it1 but proceed to lay the gold where required4 ,on moistening with the gin-water1 be careful not to touch gold already laid1 but wet close up to and adjoining it1 and let the next piece of leaf lay or lap a little over the first4 ,the moisture runs from the one into the other and makes the junction1 when dry1 complete4 #ae4--,when the lay is completed and dry1 proceed to patch up any cracks and imperfections4 ,this is done by using the number #f or #h lettering pencil1 and with its long and flexible point1 filled with sufficient of the gin-water1 wetting the cracks and imperfections one by one and applying pieces of the gold leaf of the required sizes to cover them up completely4 ,these pieces at once adhere to and join the lay perfectly1 and1 when they come to be burnished over1 never show in the least where they have been applied1 unless the burnish-size is too harsh and hard4 ,in this case1 the double layer of gold is brought out4 #af4--;,in about an hour or so1 for the flats and hollows1 and rather longer for those places where the moisture settles and collects1 and consequently remains longer1 the lay will be ready to be burnished4 ,the burnisher should be held at an angle1 not too perpendicularly1 and applied to the gold1 finishing as you go along1 and burnishing only a small piece at a time4 ,burnish right over the leaf1 just as it has been laid1 without brushing off the loose gold leaf4 #ag4--;,burnish over the loose and the firm gold together4 ,sometimes1 and most generally1 there will be imperfections in the burnishing when first completed4 ,these may arise from imperfect adhesion of the leaf1 or from the leaf rubbing off when the burnish-size has been made too strong with glue1 and so the surface has become harsh and hard4 ,these imperfect places may be repaired by simply rubbing them with a wet rag to remove any leaf still adhering1 and1 when dry1 going over them with a thin coat or two of burnish-size and relaying them with gold2 but using the least moisture possible1 or otherwise a stain will appear around the edges where the moisture has settled4 ,of course1 such places must be reburnished4 ,no moisture should ever be allowed to get on the leaf where another piece of gold leaf is not at once affixed1 as otherwise a stain will be made which will mar the uniform purity of the burnish4 #ah4--,sometimes the surface will chip under the burnisher1 particularly about an edge or corner1 when too much pressure is applied4 ,this may arise from several causes1 but most generally does from the fact that the first and second coats of size have not been of the proper strength1 and consequently have a tendency to crumble when the burnisher is applied with more than ordinary force4 #ai4--;,in very warm weather1 gilders are in the habit of putting a piece of ice in the gin-water4 ,the object of this is not particularly clear4 ,it is claimed for it1 however1 that it causes the gin-water to lay better on the surface of the burnish-size4 ,if a chip should occur in a prominent flat1 there is no remedy but to wash off the gold leaf with a wet rag1 and down to the hard finish1 and to re-do the side entirely over4 ,when not too prominent1 fill up the chipped place with ,paris white1 and when dry1 scrape smooth with a penknife1 and after giving two or three coats of burnish-size1 re-lay the gold and reburnish4 ,be careful1 when burnishing edges and corners1 to bear as lightly as possible with the burnisher1 in order to avoid chipping4 #bj4--,marks in the burnish sometimes appear which seem to be stains1 and which branch off in many ways4 ,such defects are most probably caused by the gin-water being too strong4 #ba4--,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 size4 ,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 gold2 otherwise the oil-size would be absorbed and would leave no tacky surface to which the gold leaf would adhere4 ,sufficient of the gold-size should be taken from the can containing it1 after first stirring the gold-size up thoroughly1 so as to mix it completely with the oil which generally settles on top of it4 ,a piece of tin or glass is the best thing to work from1 and the bristle brush with which the size is to be applied should be well rubbed on it from time to time1 to distribute the size thoroughly through the brush4 ,the size must be applied thoroughly to the frame1 not too freely1 so as to run and settle in hollows1 but just enough to cover the surface with a complete coating4 ,be particular to work the size into all corners and crevices4 ,the brush should not at any time be overcharged with the size4 ,if the size is not evenly distributed over the frame1 those places where it settles will simply coat over with a film1 leaving the size underneath still fluid1 and when the gold comes to be rubbed in with the blender1 the film will quickly rub off1 and the gold leaf will consequently not adhere4 ,if any of the oil-size has got upon the burnished parts1 which in spite of all care will occur at times1 it must be rubbed off with a chamois-skin and if such places are still dingy after the oil gilding1 they will admit of considerable polishing with the chamois4 #bb4--,the coat of oil-size must now be allowed to dry4 ,the time required for this purpose depends altogether upon the drying quality of the size4 ,it is generally made to dry in about ten hours and to retain its tacky surface for several days4 ,it is well to allow it to stand for1 at least1 from twenty to twenty-four hours2 particularly in the winter time1 as the more thoroughly dry it is1 the brighter will the gilding appear when completed4 ,when this coating of oil-size has dried sufficiently1 it will be ready to have the leaf applied4 ,the leaf1 as it is applied1 is pressed down gently with a pad of cotton batting4 ,when the frame has been completely covered1 take a soft fitch blender and with it distribute the gold thoroughly into corners and depressions4 ,be careful not to rub too hard1 or the gold will be either rubbed off or assume a greasy appearance4 ,if this be all properly done1 the gold will have almost as bright and polished an appearance as if it had been burnished4 #bc4--;,after dusting the frame well1 to remove as much of the dust and particles of leaf as possible1 proceed to give these portions only of the frame which have been gilded in oil a coat of finishing-size1 which is prepared in the following manner3 ,take one part of the melted gelatine or glue1 as already prepared1 and add to it four parts of water4 ,now1 with a camel's hair brush1 apply this finishing size1 hot1 or nearly so1 very sparingly1 but very thoroughly4 ,this finishing size may be colored1 if desired1 so as to deepen the shade of gold2 using for that purpose1 dragon's blood1 gum gamboge or aniline yellow4 ,only one coat of this size should be applied4 ,this finishing-size serves to give a uniform appearance to the gold1 slightly matting the metallic lustre of it1 and having the effect also to absorb and remove the loose gold dust and particles still remaining4 ,it also protects the surface from becoming dingy from smoke or other impurities which frequently prevail in rooms4 #bd4--;,if it should be desired to render the appearance of the gold still duller or more matted1 a very thin coat of the ormolu1 which is hereinafter described1 should be applied instead of the finishing-size4 ,the more matted the appearance of the surrounding gold1 the brighter and more lustrous will be the burnished part4 ,this is altogether a matter of taste and fashion1 sometimes a preference for one effect and sometimes for another1 prevailing with the public4 #be4--;,before the application of the finishing size1 any imperfectly covered places must be regilded1 using for a size the ,japan gold size4 ,this size sets in about an hour1 and for that reason is preferable to the ordinary oil-size4 ,the places to be regilt should be first gone over with shellac varnish4 ,whenever gold is to be regilt1 it must be gone over with shellac1 as otherwise it will have a greasy appearance4 #bf4--,old frames that are to be regilt1 should be first washed clean and free from dirt1 and then be given a coat of shellac before the oil-size is applied4 ,where any burnish has been1 it must1 of course1 be washed off before the reburnishing can be done4 ,some gilders use shellac varnish in place of the clear size1 to size the frame for the oil gilding4 ,it works well enough on the composition parts1 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 spoiled4 ,for quick work1 however1 and by using the shellac very sparingly and giving two coats of it1 very good results are to be had4 #bg4--;,flats are generally matted4 ,occupying1 as they do1 a prominent and conspicuous position1 being next to the picture which is to occupy the frame1 they require to be very perfectly done1 and they are therefore done in water-gilt1 and subsequently matted with a coat and sometimes with two of ormolu4 ,the flat to be matted is proceeded with as follows3 ,after all imperfections have been removed1 it must be rubbed smooth with very fine sand paper and polished with a moist rag4 ,three coats of burnish-size are then applied very evenly and smoothly to it1 avoiding all marks of the brush where possible2 or two coats of yellow clay1 prepared in the same manner as the burnish-size1 and afterwards two coats of burnish-size1 are given4 ,when the final coat is sufficiently dry1 the flat must be polished with a piece of coarse paper1 or it may even be burnished1 when time is no object4 ,if the inside edge should be intended to be burnished after being laid in gold1 that part must not be polished1 nor receive the coat of very thin glue water1 which is to be applied after the polishing process to all that part which is to be matted4 ,this coat of glue water must be applied very evenly and freely to the flat1 avoiding bubbles if possible4 ,when dry1 the flat is all laid in gold in the same manner as proceeded with when laying the gold for the burnish work4 #bh4--,the best plan to lay a perfect flat is to double-gild it1 which consists in simply laying on another coat of gold after the first has dried4 ,the first coat when dry1 as well as the second1 must be rubbed smooth with a wad of cotton batting4 ,care must be exercised during this process1 in order to avoid1 as much as possible1 disturbing the lay4 ,to lay a second coat over the first1 the gin-water must be washed over at once1 so as to avoid washing up the gold leaf4 #bi4--;,after the gold has been rubbed smooth with the cotton1 a coat of ormolu must be applied to the unburnished part1 to impart to it the matted appearance required4 ,the ormolu should be applied warm and by means of a camel's hair brush1 and the application must be very nicely and carefully done4 #cj4--,the following is the manner in which the ormolu is prepared3 ,take a teaspoonful of either the tincture of gum benzoin or of white shellac varnish1 and mix it in a cup with about twice or three times its bulk of the highest proof alcohol4 ,now have ready a hot solution of glue or of gelatine1 of about the same strength as that of the finishing size4 ,the quantity should be about one-half a teacupful4 ,this must be poured quickly and all at once into the solution of the gum benzoin or of shellac1 and the result will be a perfect emulsion of the gum1 which will be of a milky white appearance4 ,this1 of course1 should be strained1 and is to be applied as already described4 ,if the first coat should appear spotty and streaky1 a second one will be necessary4 ,in applying either the finishing size or the ormolu1 it is well to have a lump of alum convenient1 to which1 from time to time1 the brush may be applied4 ,this will1 in the case of either1 cause it to go on in a better manner and to lay more evenly4 ,the ormolu1 as prepared by the above method1 will keep for any length of time4 ,it may also be slightly colored1 if it be desired to give the gold a deeper tinge4 #ca4--,the frame will now be about finished1 as far as the gilding is concerned4 ,the sections must now be returned to their respective places and securely nailed together4 ,the outside edge of the frame1 if it has been burnished1 will require no further preparation1 but if it has been gilded in oil1 or if it has simply been laid in water1 it should have a coat of white spirit varnish applied with a camel's hair brush4 ,this coating of varnish will render the layer of leaf sufficiently hard to be handled without injury to it4 #cb4--,when the edge has not been gilded at all1 it is the practice to give it two coats of yellow ochre1 mixed about as strong as those of the pipe clay and applied with a bristle brush4 ,the yellow ochre should be strained before being applied4 #cc4--;,before anything has been done to the frame1 and after the sections have been taken apart1 it is well to protect the outside corners with pieces of wood securely fastened to the back4 ,this will prevent them from being injured while being gilded4 ,gilders generally suspend a frame when not being worked upon1 to some projection1 to keep it out of the way of injury2 but1 with the corners protected1 it may be stood anywhere with safety4 #cd4--;,in the foregoing description of the process of gilding1 the burnished part has been described as being done before the oil gilding4 ,the oil gilding may1 however1 be done first and the burnishing afterwards4 ,this manner of proceeding is generally practiced in ,europe1 but not so much in this country4 ,however1 when much burnishing is to be done1 this method is recommended4 ,all those parts of the frame which are to be oil gilded must be coated with the oil gold-size2 and wherever this size has got upon places to be burnished1 it must be scrupulously wiped off4 ,then1 after the size has set and before it has been gilded1 all these parts which are to be burnished must be gone over with a coat or two of pipe clay1 to which has been added an extra quantity of ox-gall1 in order to cause these coats to lay perfectly over any spots which the oil-size may have touched4 ,then apply the burnish-size1 as previously described4 ,when burnishing1 be very careful not to touch with the burnisher those parts which have been oil gilded1 and do not burnish too close to them4 #ce4--,sanded work is used very much in combination with composition on picture-frames4 ,the sand1 or crushed quartz1 is made to adhere by means of glue4 ,such sanded work must have a very thorough coating of ,paris white before being gilded4 #cf4--,plain wood1 where the grain is to be shown after being gilt1 must be well treated with shellac before having the size applied4 ---------------------------------------- -------------------------------- ,,the ,,bronzing ,,process4 ,i4 ,the implements and materials required for the bronzing process are the same as those required for gilding1 with the exception of the gold leaf1 the cushion knife and tips2 and with the addition of the ,,bronze ,,powders of the necessary colors1 and of ,,copal ,,varnish4 ,these may be obtained from any dealer in art materials2 but1 of course1 those of the best quality only should be used4 ,,ii4 #a4--,the frame which is to be bronzed must be proceeded with in the same manner as described in the gilding process4 ,that is to say1 all imperfections must be first remedied and the frame put in perfect order4 #b4--,two coats of pipe clay are then to be applied to all of the composition work1 using a bristle brush for that purpose4 ,the pipe clay is to be prepared as already described for the gilding process4 #c4--,two coats of burnish-size must next be applied all over the frame1 using a bristle brush instead of a camel's hair brush on the composition parts4 ,for the smooth parts of the frame1 a camel's hair brush may be used1 as a more even surface may be obtained in that way4 ,the burnish-size should be applied very sparingly1 so as not to clog up the ornamental parts of the frame4 ,after having given the frame two thorough coats of the burnish-size1 a third and final coat of the same size must be applied4 ,to this final coat1 before being applied1 should be added a small quantity of powdered lamp black4 ,the addition of the lamp black is not absolutely necessary1 however1 as the object for which it is used is simply to give a darker appearance to the final coat1 which1 in the crevices and hollows1 when the whole work receives the varnish coat1 then assumes that antique appearance4 ,the lamp black rather impairs the burnishing quality of the size1 though not to any serious extent4 #d4--;,after the final coat has been applied1 put some of the bronze powder which is to be used into a small saucer4 ,a very little bronze powder will go a great way4 ,in another saucer1 pour a weak solution of gelatine or of gum arabic4 ,this must be just sufficiently strong to hold the bronze powder on the frame4 ,the usual way of proceeding1 in order to apply the bronze powder1 is to dip the fingers first into the gelatine or gum arabic1 and then into the bronze powder1 and proceed to rub it on to the work to be bronzed4 ,it may be applied with a bristle brush1 and1 where the powder is to be inserted into cracks and crevices1 it must be so applied4 ,the object of using the fingers is1 that with them a smoother and thinner coat can be obtained2 and the smoother and thinner the coat1 the better will it burnish4 #e4--,when the frame has been completely covered and the coating is sufficiently dry1 all the flat and smooth parts of the frame1 and all those parts of the composition work also which are in relief1 must be completely burnished4 ,this part of the work requires a great deal of patience and time2 but one is fully repaid for the labor bestowed1 in the brilliancy of the work when done4 #f4--;,after the frame has been burnished sufficiently1 a thin coat of copal varnish is to be given all over it4 ,the varnish is intended to protect the bronze from tarnishing through contact with the air1 as well as from any moisture which might accidentally get on the frame1 and which1 of course1 would remove the film of bronze4 ,illustration ---------------------------------------- -------------------------------- ,transcriber's ,notes ,missing or obscured punctuation was silently corrected4 ,typographical errors were silently corrected4 ,inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book4 ,text in italics is enclosed by underscores 7italics74