:\v U^’*.«V\r ...... ; V i.i • •■,*. ■fe- W: » • • • • • ■ • ' • » • « •*»» ...... ... * « * . . • * ■ » »*» - . » * - >• r.v.V.- ft; -V'V * • * * 9 THE GILDER’S MANUAL; A COMPLETE PRACTICAL GUIDE TO GILDING IN ALL ITS BRAN CITES. DESIGNED FOR 4 LL TRADES IN WHICH GILDING IS USED. INCLUDING SILVERING. TOGETHER WITH PICTURE FRAMING, PICTURE REPAIRING, AND MUCH OTHER USEFUL INFORMATION, VALUABLE RECEIPTS, &c. — ■ » - Entered according to act of Congress in the year 18?fl. by Jesse Haney ifc Co., in the office of the Librarian of Congress, at Washington. ■ » < » NEW YORK: EXCELSIOR PUBLISHING HOUSE, McKeon & Schofield, Proprietors, ‘J k** *' THE GETTY CENTirt THE GILDER’S MANUAL. PICTURE FRAME &ILDINO, AND Gilding for Interior Decoration. PREPARATIONS USED IN OILDINO. We shall first describe the various preparations used by the gilder, and would here mention the importance of having clean pots and brushes, and of being particular to keep all preparations from dust and dirt. This is necessary if the operator wishes to accomplish beautiful and brilliant work. We shall give the best description of how the work is to be performed, and the latest and best practical recipes known to the trade. Parchment Size. — The size used by gilders in Englana is made from parchment cuttings, or cuttings from gloves. In America there is a white glue in use, which is not so fine or suitable for the work. Parchment size is made by first washing as many cuttings as you have room for in a clean stone pipkin cover them with water, and let them simmer for two hours, when, to test if it is boiled enough, the inside of the palm of the hand should be slightly wetted with the size, and the other hand pressed closely several times upon it, when if it be found to be sticky, the size may be poured off into a clean basiD to cool for use. This size is most important to the gilder, as he uses it to mix nearly all his preparations in the practice of his art. When it is cool, it is like jelly, and the stronger the size the firmer it will be. The bottom and top of the basin of size will be found not so pure or transparent as the middle, and the gilder is always particular to mix his burnish and matt with the finest and clearest size, while the tops and bottoms go to mix whiten¬ ing, stopping, thick white, &c. If the size is too thick it will be necessary to add water in making up some of the preparations, and m the strength of size is important, we shall refer to it again shortly. Oil Gold Size. — This size is a mixture of boiled linseed oil and ochre, well ground up together. The carver and gilder 10 THK GILDER’S manual. seldom, if ever, make this size for use, as it can be purchased cheaply by weight. It is too solid for use as kept in stock, and is thinned down with boiled oil to about the consistence of cream. Matt Gold Size. — This also is purchased of artists’ colormen by weight. It is of a chocolate color, and very stiff. When it is required for use a small portion of parchment size is put into a stone pot, and about twice the quantity of water; when the size is melted into the water, a small portion of the matt gold size is added, and stirred till it is dissolved; more is added till it is of the consistence of thick cream. This preparation is obliged to be used warm, as the size with which it is mixed would coagu¬ late. Burnish Gold Size. — Like the proceeding, this is usually bought of the artists’ colorman, and is mixedl ike the above. It does not pay to make this article, but the following ingredients ground together very finely would bring out a good burnish. Black lead, deer suet, and red chalk, one ounce each, with one pound of pipe clay, ground with parchment size to a stiff paste. This size is made ready for use like matt. Clay. — This preparation is usually bought of the artists’ colorman, and is mixed the same as burnish size. Gilder’s Ormolu. — This preparation is mixed with thin parchment size, to give the oil and matt gilding a deeper and richer appearance. To medium strength parchment size add enough of the following recipe to color it. It is better strained aefore putting into the size, and applied like a varnish, thinly and carefully. Recipe . — Mix together one-fourth pint of spirits of wine, half ounce of unbleached shellac, one dram red Saunder’s wrood, half dram tumeric. Shake every now and then until completely dis solved. Stopping. — This is a mixture of size and whitening to the consistence of putty. It is used for stopping up holes, or making _ up defects in the work. Thick White. — This is a mixture of whitening and parch¬ ment size to the consistence of cream, and is put on the parts to be burnished previous to the burnish size. Whitening. — The whitening used by the trade is usually bought in 100 pound barrels, and is a very superior article to that used in the household, as there is no grit in it, and the gilder is particular to protect the whitening barrel from dust. Before being used for the various preparations, it is rolled out on a board with a rolling pin until it is perfectly smooth and fine. Whitening Up. — Nearly all the work undertaken by the gilder. THE GILDER’S MANUAL. 1* especially that of picture and looking-glass frames, requires to jaave a foundation of whitening and size ; the reason is that it can be got up much more smoothly; and a brilliant burnish can only be produced on a good foundation of whitening. For out¬ side work paint is used as a foundation, and the gilding is inva¬ riably done in oil, as no other gilding would stand the weather. It is therefore important that whitening up various moldings and articles should be practiced by the learner. It must be remember¬ ed that all the stock moldings kept by the professional gilder comes to hand ready whitened up from the manufactory, and there they have a ready method of whitening up with templets, which ren¬ ders the moldings cheaper. The gilder has oftentimes frames to make to pattern, when he has tc get the molding made, and then whiten it up. The first thing to be done is to give the molding a priming of thin white , composed of parchment size and whitening, and laid on very hot. After this is dry, the irregularities and defects of the molding are filled up with stopping, and then thick white is evenly laid on with a brush. As before observed, the thick white is made by increasing the quantity of whitening to a given amount of size till it is about the consistence of thick cream. When several coats of thick white have been laid on, each one being dry before the next is applied, pumice stone of various shapes to fit is applied to the beads, hollows, flats, &c. , giving the work a coat of white at the same time, and well rubbing down all the rough projections in the molding, and also taking care to well square up all the angles in the various members of the molding. In smoothing it out, superfluous whitening will be rubbed out by the pumice stone, which must be taken off. After repeated smoothing down, it is finished off with clean water, when it will be found to be smooth. The thickness of whitening on the wood should be one-sixteenth of an inch, and in some instances thicker. Care should be taken not to use the whitening and size when it is beginning to “ turn off,” as it then loses a great part of its adhesive quality. Different strengths must also be guarded against, as a strong coat of whitening size laid on a weak foundation will be likely to peel up when the after preparations are laid on. GILDING. There are two kinds of gilding practiced by the trade; one is called “ oil gilding,” the other “ water gilding;” and the latter is both matt and burnish. Moldings full of small members, and work full of ornaments, are generally gilt in oil, while broad f 12 THE GILDER’S MANUAL flat surfaces and plain beads and hollows are gilt in water, sometimes in oil. Matt and burnish gilding are seen on the same molding or piece of work. In the chapter on composition ornaments we describe the method of getting out, fixing on, and backing up the corners on frames, but have hitherto said nothing on mitering-up moldings, which will be done shortly; and our first essay at gilding will be on an ornamental frame of broad molding, mounted with corners, and will be in “oil.” OIL GILDING. After the corners have been backed up and hardened by being in a dry place, the first care of the gilder is to wash the orna¬ ments on the frame to free them from the oil and dust that may cover them in getting them out of the mold and on to the frame. After this is dry, the coat of thin white is evenly put on the frame. When this is dry, stopping is used to fill up the holes and defects in the molding, and to square up the corners that are damaged, and make good all ornaments that are chipped. When the stop¬ ping is hardened, the frame is ready for glass papering, and the 6aok edge, hollows, beads, and flat parts of the frame are per¬ fectly smoothed with fine glass paper. This is important, if good work is required to be turned out. Glass paper for the gilder's use is cut up into pieces about two inches square, and the sizes most generally used are No. 2, 1£, 1, 0. No very coarse glass paper is required. After well brushing out the frame with the ducting brush, it is ready for two coats of thin white mixed with clay. When this is dry, it is ready for again carefully fine glass papering, and is then ready for wliat is technically termed clear cole. This is parchment size thinned down with water moder¬ ately, and put on warm. The object of thus sizing the work is to keep the next coat, which will be oil, from sinking into the surface. Two coats of this size are usually laid on, and it is much better to lay on two or more coats of weak than one of strong size, as the latter sometimes, if too strong, peals off. Size that has been kept a little too long, and commenced running or spoiling, is known to make first rate clear cole. After the size is dry, the frame will be ready for oil, and the workman mixes enough oil gold size to about the consistence of cream, and strains it through some clean linen rag screwed up tightly, forc¬ ing out the oil size. This oil gold size is laid on the frame very thinly and evenly with a brush. The thinner it is laid on the better, but great care must be exercised to touch the whole of the surface of the molding, and to be most particular to brush in the oil to the bottom of the work. It is usual to put work in THE GILDEK’S MANUAL. 13 oil the last thing at night, so that it may be ready for gilding the first thing in the morning. It is known to be ready for gilding by the oil being just tackey , and nearly dry , and in this state the gold will adhere firmly, and brush off bright; but if the oil has been laid on too thick, or the gold applied when it is too tackey or not dry enough, it will be dull, and greater care must be exer¬ cised in skewing in the gold, or the more prominent parts will have the metal brushed from the surface. The frame being ready, the gilder blows the gold out on the cushion, and cuts the sheet of gold up into convenient sized pieces to suit the various parts of the frame, and takes them up with the tip, and lays them on the frame till it is well covered with gold. In a frame gilded in oil the gold is ragged, and in many places of double and treble thickness. The gold is first carefully pressed down with a clobber, and then skewed well in with a badger. A rather long-haired brush set in quill is used, called a skewing brush, to brush out and off the frame the old skewings remaining. After this operation, the frame is ready for finish size. This is clear size, rather weak, laid on evenly with a liog’s-hair brush, and if it is thought desirable to deepen the color of the gold, a little onnolu is added in order to give it a deeper and richer color. The skewings, which are the small particles of gold not required on the frame, are carefully put away and sold to the gold beater when a sufficient quantity has been collected. The frame will now be complete when the back edge is brushed over with yellow ochre, mixed with size. WATER AND OIL GILDING. After going through the operation of gilding a frame in oil, which is comparatively simple, the reader will be prepared to gild a more elaborate frame, finished with brilliant burnish ou the corners, beads, &c. , and a broad double gilt flat and hollow on the inside. It may be mentioned here, all the best work that is flat, such as broad insides to picture frames, spandrills, flat looking-glass frames, &c., are double gilt; and this is done to give the work a better color and more solid appearance. Some of the gilder's customers may perhaps think he over¬ charges a little for his work, but when he is anxious to please his customer with good work, it should be borne in mind both gold and time must be paid for that have contributed to the result. We will now describe the operation of gilding a broad frame made of Alhambra molding, with corners and a broad flat Inside. As a general rule the broad flat insides to frames are made aepo- u THE GILDER’S MANUAL. rate, and fit into the rabbet of the outside frame when made. This is convenient to the gilder, as he gilds the flat in water apart from the frame it is made to fit. The first thing the workman is careful to do is to see that the frame is free from dust, dirt, or grease; and if not, to wash the frame with a brush and clean water, care being taken not to take off the sharpness of the ornaments in the operation. After it is dry, a coat of thin white is then applied, and then all holes, &c., are made good by stopping , and the parts to be burnished receive three or four coats of thick white. When the last coat of thick white is nearly dry, pass over the parts with the finger, which will help to smooth the rough surfaces. It may perhaps puzzle a novice what parts should be burnished in various descriptions of work, but a good rule will be to take the most prominent plain parts of the ornaments and the beads; and in the case of scrolls on a chimney glass, the scrolls fixed on for burnishing should be followed throughout with burnish. It requires taste and judgment to so distribute the burnish in any work that it may not be overdone and lose its effect, but judiciously placed, so that the matted portions will stand in strong contrast, and pro¬ duce brilliant work. The frame is then carefully and thoroughly glass-papered till it is smooth, when it receives a coat of thin white mixed with clay, and is again glass-papered and brushed down. Two coats of dear cole, evenly laid on, follow, taking care that the first coat is thorougly dry before the second is laid on. When this is done the frame is put in oil, in the same way as before mentioned, and afterward all the beads and ornaments which have received the coats of thick white, and selected for burnishing, must be rubbed clean of every particle of oil. This is usually done by wetting a piece of calico, and wringing it out: commence by putting it round the second finger of the right hand, and pass it carefully over the parts to be burnished, changing the surface of the calico on the finger very often. Should any of the other parts of the frame be touched by the damp calico, it will be necessary to again apply the oil brush to remedy the accident, and a small camel’s hair brush will some¬ times be needed to touch in small imperfections. Although it is thought that every particle of grease has been wiped off, yet it is necessary the next morning, before laying the gold, to go over all the parts gone over with the damp linen with clay. This is done to prevent the possibility of any gold adhering, as it would have to be glass-papered off before putting on more preparation. The frame is then gilded as before described, and the gold skewed into the bottoms of the ornaments; after which, if there are any “ faults” in the gilding, they can be rectified by taking THE GILDER’S MAHUAL. 15 a small camel’s hair brush, and wetting it in the mouth , apply the moist brush to the spot, and lay gold enough to cover it. The frame must then b e finish sized once, as before mentioned. We must now look to the burnishes, left with a coat of clay. Matt gold size must be mixed, and three or four coats must be evenly applied with a camel’s hair brush. When dry, it should be gone over with a damp sponge. On this surface lay two coats of burnish gold size as evenly as possible, when it will be ready for the gold as soon as the last coat is dry. We must now lay the gold on these burnishes in a different manner from that men¬ tioned before, and we will first gild the bead running round the frame between the parts already gilded in oil. The frame is raised on the left hand, so as to be at an inclination, to allow the surplus water to run off, when we must be provided with a clean glass of water and camel’s hair pencils, and must proceed to work in the following manner : A convenient sized camel’s hair pencil that will cover the bead is dipped in the water, and scraped over the edge of the glass, and beginning at the left hand end of the bead, proceed to wet the bead for five or six inches down, and pass the brush over it till it is thorougly soaked; and while the water is yet floating on the bead, the strip of gold, which is •■eady on the tip , must be laid quickly and evenly. It may as well be mentioned that with water gilding the gold cushion is held as usual in the left hand, and the knife and tip are held between the fingers beneath. The workman commences by cutting strips of gold leaf the necessary width, and taking up one on his tip, it is put between the fingers of the left hand till the bead is ready to receive the gold; the brush is placed in the glass; and the tip, ready with gold leaf, is taken from between the fingers, and the gold applied ; after which another strip of gold is taken up on the tip, and it is returned to its place between the fingers of the left hand to wait till another piece of the bead is soaked, and ready to receive it. This operation is continued till the whole of the bead is covered ; also the burnish in the corners, &c., must in the same way be covered. It is scarcely necessary to mention that the water must be kept from the gilded portions of the frame as much as possible. In laying a bead, it will be better to have no uneven edges to the gold where it joins, as it will make it more solid and save trouble. Should there be a defect in the gold caused by laying on or other causes, it must quickly be made good by applying more gold lightly to the spot. The whole of the frame is now covered with gold, and the beads and ornaments just laid must remain till they are dry, which will be perhaps two hours, unless the workman is in $ warm shop. 16 THE GILDER’S MANUAL. Burnishing out the gold thus laid is the next operation, and !i thus performed : The burnisher, which is usually curved at the end, is grasped in the right hand, and the curved part applied to the work; with a slight pressure from the thumb of the left hand, which also steadies the tool, the burnisher is rubbed steadily backward and forward, when it will be found to bring up a brilliant burnish. Sometimes the burnisher is used at the point to burnish close up to the ornaments, and for hollows, &c. Burnishers of various sizes and shapes are used for the work ; a little practice will enable the learner to soon find out the best shapes for the work in hand. The frame in hand must now be looked carefully over, and if any “faults” occur round the base of any of the burnished ornaments, which is sometimes the case, it must be made good as before described, and the frame again finish sized, care being taken not to touch the burnished parts with size, when the work may be said to be finished so far, after the edge has been yellowed with ochre. The broad inside flat and hollow must now be taken in hand, and as an engraving is to be put into the frame when it is finished, we must burnish the hollow ; but if an oil painting had been going into the finished frame, the hollow would not have been burnished. We make this a rule, as the burnished hollow next to a painting disturbs the eye, which ought to rest in repose on the picture ; but with an engraving with a broad white margin, the burnished hollow gives a more finished appearance to the whole, and the white margin keeps the eye from wandering. The inside flat and hollow is about one and a half inches wide, and in order to make it look well it must be carefully prepared up, and double gilt in water. Large flat surfaces tax the gilder’s skill, so as to make the whole look solid, without an appearance of a join in the gold. Sometimes the miters require rubbing down with pumice stone and water if they have not been neatly joined, and then any inequalities in the surface hollow or edge neatly stopped , and when dry carefully rubbed down with rather fine glass paper , when a coat of clay is evenly put on, and it is again glass papered, rubbed down, and four coats of matt gold size smoothly put on, when it is again glass papered and washed carefully down with a piece of cloth. When this is nearly dry, take a piece of dry cloth and briskly rub over the flat, when a polished surface will be the result. On this surface lay two coats of weak size, and when dry it is ready for the first layer of gold. As our inside flat is one and a half inches broad, the gold leaf will have to be cut one leaf in two. Proceed as before stated fo^ water gilding, taking care not to lay the gold in the THE GILDER’S MANUAL 17 hollow. When the gold is laid all round, the work must be hang up until quite dry, which may be three or four hours according to the temperature of the room. When dry, lake a piece of cotton wool, the finest is sold by druggists, and rub off the superfluous gold, when it is possible a lot of faults in the gold will be discovered, and perhaps what is called “spiders’ legs ” will be seen ; but as our work is to have another layer of gold, this difficulty will be got over. After the superfluous gold is rubbed off, a coat of weak size must be put on the gold, and when dry two coats of burnish gold size in the hollow ; when dry the work is ready for the second coat of gold, which must be laid on as before, taking care, on this occasion, to lay the hollow with the flat. When dry, the hollow must be burnished carefully with a burnisher, taking care the tool does not slip over the matt, as it will make a scratch that cannot be easily got out. When the matt has received two coats of finish size, the inside may be said to be finished. The tyro must remember never to touch his burnishes with size or water, and hence arises the necessity of sometimes being obliged to change the order of the processes to save the burnishes from damage. The faults spoken of will be found to have disappeared with the laying of the second layer of gold, but if there should be a fault it must be seen to before the finish size is laid on, or it will show very badly, and spoil what would otherwise be considered good work. WHITE AND GOLD. In many of the best drawing rooms of the present day suite* of furniture in white and gold are used, and nothing looks so chaste where the surrounding colors harmonize. This class of work requires great care in whitening up and preparing; also taste and judgment to decide what parts of the article should be white, matt, or burnish. Brackets, whatnots, console tables, chairs, lounges, and many other articles of furni¬ ture are ordered in white and gold; and we will here describe the process on a carved chair, when, if the directions are fol¬ lowed with any carved article, the result will be satisfactory. Chairs are oftentimes delivered into the gilder’s hands whitened up, but where inis is not done it is necessary to carefully whiten up the article, being particular to draw up the whitening so that every part of the pattern shall be sharp, and stand out well ii l bold relief, according to the directions before given on whiten¬ ing up. 18 THE GILDER’S MANUAL. As the back and seat of our chair are to be needlework it wil. be necessary to see that they both fit in tlieir proper places, so that the gilding may not be damaged when finished. After glass papering, we must decide on the parts to white, burnish, and matt, when a coat of day must be applied to all tho parts required to be gilt, care being taken not to go over the parts decided on to be white, and the work will proceed in the same way as laid down for water gilding. When all the gold is laid and burnished out, and the matt finish sized, the white parts must receive two or three coats of flake white and parchment size, not too thick, care being taken to give a clean finish to the gilding in passing over it with a camel’s hair brush. If the work is ordered to be varnished, it will be necessary to give the white two coats of clear size to prevent the varnish from sinking in, when the chair will be ready to receive a coat of enamel white varnish. With this operation the white will become a cream color. Articles are sometimes got up in mauve and other delicate colors to suit the taste of the purchaser. Where silver leaf is required to be laid, the process will be the same as for gold leaf. Cheap gilding, so called, consists in laying silver leaf, or even tin foil, instead of gold leaf, and then varnishing with a “gold coloring varnish,” for a recipe of which see toward the close of this volume. LOOKING-GLASS FRAMES. During the latter half of the last century the frames for looking glasses were of a set and decided pattern, and were, generally speaking, more architectural in their character than they have since been. There was a broad cornice on the top, with a frieze below it, on which was represented some allegori¬ cal subject; the sides consisted of a column or pillar on a fiat ground. The Corinthian order was sometimes adopted, and terminated with capitals and bases of the same; square blocks were placed under the base, and the cornice was supported by the capital. This style was succeeded by doing away with the molding and frieze, and substituting a column of the same order as the sides. Not half a century ago the columns were dispensed with altogether. The sides and top of the frame were made of equal width, and consisted of a fiat ground, bounded at each edge by a hollow or some other small molding, and the comers were ornamented by carved or composition ornaments. The next style may be called the “ modem antique,” ia which THE GILDER’S MANUAL. 1® the style of the times of Charles II., Anne, and Louis XIV. pre vailed. At the present time glass frames are made of every descrip¬ tion and style, so that any style of furniture can be matched, either mediaeval or modern. There are two shapes, technically called “landscape" and “pier." The “landscape” glass is long, and the “pier” is up right. Although any size can be made to order, yet the following are standard sizes, and frames are kept in stock of the following sizes rabbet measure : PIER. 40 in. high by 44 in. high by 50 in. high by 54 in. high by 56 in. high by 30 in. broad. 34 in. broad. 40 in. broad. 44 in. broad. 44 in. broad. 60 in. high 70 in. high 70 in. high 70 in. high 76 in. high by 48 in. broad by 44 in. broad, by 50 in. broad, by 30 in. broad, by 48 in. broad. LANDSCAPE. 40 in. broad by 30 in. high, i 40 in. broad by 30 in. high. 44 in. broad by 34 in. high. | 60 in. broad by 40 in. high. COMPOSITION ORNAMENTS. The ornaments with which gold frames are mounted are of comparatively recent date, having first come into use about a century ago for figures on chimney pieces, and since for picture frames. The ornaments are made from a mixture, for which the following recipe will be found to answer well; any quantity can be made in the following proportions : RECIPE FOR COMPO. Boil seven pounds of the best glue in sevenhalf pints of water, melt three pounds of best rosin in three pints of raw linseed oil. When the ingredients are well boiled, put them into a large vessel and simmer them for half an hour, stirring it, and taking care it does not boil over. When this is done, pour the mixture into a large quantity of whiting, previously sifted and rolled very fine, and mix it to the consistence of dough, and it is ready for molding into the required shapes. The above compo will keep for a long time in a damp place, or in a barrel of whiten 20 THE GILHEK’S MANUAL. Compo, when cold, is very hard, and when required to bo used it is heated by means of steam, when it assumes the consis¬ tence of dough. The ornaments are made by pressing the compo into mold*. The molds are made of boxwood, and the required ornament is countersunk in the wood by a man who is by trade a mold cutter. They are got out in the following manner : The workman takes the mold and well brushes into it oil and turpentine, to prevent the composition adhering to it. When composition enough, in a warm soft condition, is rolled up in the hands into a convenient form to go into the mold, it is pressed into every part very carefully by the fingers, and then a board or flat surface of iron is wetted and placed on the compo still out¬ side the mold, when the whole is put into an iron screw press, and the pressure, which is but for a few moments, drives the compo into all the deep parts of the mold, and makes the board adhere to the back of the composition. When it is taken out of the press, the mold is removed from the ornament. After the compo has hardened a little, the ornament is cut off, and the remaining compo sliced off to be again heated and used. The ornament, when first cut off, is very soft and pliable, and can be then fitted to frames having beads hollows, &c., without fear of breaking. These ornaments are fixed on with glue, and if corners to a frame, are sometimes supported with a piece of compo behind to secure them in the position required. When dry they are quite hard and brittle, and are then to be lacked up, that is, the spaces between the corner and the frame filled up with compo softened in hot water, which will make the ornament strong and thicker than before. The mounting of these ornaments often¬ times requires skill and practice, as they have to be placed on a large proportion of the gilded articles sold in the trade. Some of the ornaments when made require supporting in other ways oesides that mentioned, as in the case of distinct fronds of ferns, a wire has to be placed throughout the back of the ornament, and secured by covering or backing up with compo, when it is found this beautiful but fragile pattern will wear well. Brackets, cornices, frames, whatnots, &c., each require the ornaments mounted so as to be graceful and suitable to the design. For cheaper work there are gilded lead ornaments sold at twenty-five cents per pound by wholesale molding dealers. The carver and gilder has a stock of molds to suit the various descriptions of work. As we have remarked, the molding manufacturer has facilitated the work of the carver and gilder, as the moldings come to hand ready mounted with composition ornaments, so that in many instances the picture frame, whea THE GILDER^ MANUAL. 21 made, only requires suitable compo corners Where looking glass frames are made, they are mounted with handsome scrolls, &c. , except where the pattern required is heavy and unsuitable for compo work, when, as mentioned before, the scroll pattern is carved out of soft wood, and whitened up. On very large frames the ornaments are sometime papiet mache , which is much lighter. These ornaments are made out of paper pulp, which is pressed between two molds, and the ornament, when pressed comes out thin and hollow. One ad¬ vantage of these ornaments is that, if let fall, they are not so liable to break as compo. These ornaments are not held in favorable estimation by the gilder, as the paper pulp does not form such a good foundation for gilding as wood or composition. FRENCH OIL GILDING FOR PICTURE FRAMES AND IN¬ TERIOR DECORATIONS. Oil Gilding is employed, with varnish polish, upon carriage^ mirror-frames, and other furniture. The following method is employed by eminent gilders at Paris. 1. White lead, with half its weight of yellow ochre, and a little litharge, are separately ground very fine ; and the whole is then tempered with linseed oil, thinned with spirits of turpen¬ tine, and applied in an even coat, called impression. 2. When this coat is quite dry, several coats of best flake white very finely ground with raw linseed oil and thinned for use with spirits of turpentine as it is used, called hard tint are given, even so many as 10 or 12, should the surface require it, for smoothing and filling up the pores. These coats are given daily, leaving them to dry in the interval in a warm sunny exposure. 3. When the work is perfectly dry, it is first softened down with pumice stone and water, afterward with worsted cloth and very finely powdered pumice, till the hwrd tint gives no reflection, and is smooth as glass. 4. With a camel’s hair brush, there must be given lightly and with a gentle heat, from 4 to 5 coats at least, and even sometimes double that number, of fine shellac varnish. 5. When these are dry, the grounds of the panels and the carved parts must be first polished with shave-grass ; and next with putty of tin and tripoli, tempered with water, applied with woolen cloth ; by which the varnish is polished till it shines like a mirror. 6. The work thus polished is carried into a hot place, free from dust, where it receives very lightly and smoothly a *hW 22 THE GILDER’S MANUAL. coat of gold color , much softened down . This is merely the drega of the colors, ground and tempered with oil, which remain in the little dish in which painters clean their brushes. This substance is extremely rich and gluey ; after being ground up, and passed through fine linen cloth, it forms the ground for gold leaf. This coat is passed over it with a clean soft brush, and the thinner it is the better. 7. Whenever the gold color is dry enough to take the gold, which is ascertained by laying the back of the hand on a corner of the frame work, the gilding is begun and finished as usual. 8. The gold is smoothed off with a very soft brush, one of camel’s hair, for example, of three fingers’ breadth ; after which it is left to dry for several days. 9. It is then varnished with a spirit of wine varnish, and then treated with the chafing dish as follows : The workman with a lighted chafing dish holds the flame near the gilding for a mo¬ ment and then passes on. He must not stop any length of time at any one spot or he will spoil the work. This gives a fine luster to the varnish coat, as it melts the small upward projections and brush marks down to a perfect dead level. 10. When this varnish is dry, two or three coats of copal or oil varnish are applied, at intervals of two days. 11. Finally, the panels are polished with a worsted cloth, with Tripoli and water, and luster is given by friction with the palm of the hand, previously softened with a little olive oil, taking care not to rub off the gold. FRENCH BURNISH GILDING-. Gilding in distemper of the French, is the same as our burnished or water gilding. Their process seems to be very elaborate, and the best consists of 17 operations ; each of them said to be essential. 1. Encollage , or the glue coat. To a decoction of wormwood and garlic in water, strained through a cloth, a little common salt and some vinegar are added. This composition, as being destructive of worms in wood, is mixed with as much good glue ; and the mixture is spread in a hot state, with a brush of boar’s hair. When plaster or marble is to be gilded, the salt must be left out of the above composition, as it is apt to attract humidity in damp places, and to come out as a white powder on the glid¬ ing. But the salt is indispensable for wood. The first glue coating is made thinner than the aecond. 2. White preparation. This consists in covering the above •urface with 8, 10, or 12 coats of Spanish white, mixed up with THE GILDER’S MANUAL. 23 strong size, each well worked on with the brush and in some measure incorporated with the preceding coat, to prevent their peeling off in scales. 3. Stopping up the pores, with thick whiting and glue, and smoothing the surface with dog-skin. 4. Polishing the surface with pumice-stone and very cold water. 5. Reparation ; in which a skillful artist repairs all defects. 6. Cleansing ; with a damp linen rag, and then a soft sponge. 7. Preler. This is nibbing with shave-grass the parts to be yellowed, in order to make them softer. 8. Yellowing. With this view yellow ochre is carefully ground in water, and mixed with transparent colorless size. The thin¬ ner part of this mixlure is applied hot over the white sunace with a fine brush, which gives it a fine yellow hue. 9. Ungraining consists in rubbing the whole work with shave- grass, to remove any granular appearance. 10. Coat of assiette; trencher coat. This is the composition on whicn the gold is to be laid. It is composed of Armenian bole, 1 pound ; oxide of iron (best red chalk or jeweler’s rouge), 2 ounces ; and as much plumbago ; each separately ground in water. The whole are then mixed together, and ground up with about a spoonful of olive oil. The assiette well made and applied gives beauty to the gilding. The assiette is tempered with a white sheep skin glue, very clear and well strained. This mixture is heated and applied in three successive coats, with a very fine long-haired brush. Rubbing, with a piece of dry, clean linen cloth ; except the parts to be burnished, which are to receive two more coats of assiette tempered with glue. 12. Gilding. The surface, being damped with cold watei (iced in summer), has then the gold leaf applied to it. The hol¬ low grounds must always be gilded before the prominent parts. Water is dexterously applied by a soft brush, immediately be¬ hind the gold leaf, before laying it down, which makes it lie smoother. Any excess of water is then removed with a dry brush. 13. Burnishing with bloodstone. 14. Deadening. This consists in passing a thin coat of glue, slightly warmed, over the parts that are not to be burnished. 15. Mending ; that is moistening any broken points with a brush, and applying bits of gold leaf to them. 16. The vermeil coat. Vermeil is a liquid which gives luster and fire to the gold ; and makes it resemble ormolu. It is com¬ posed as follows : 2 ounces of annotto, 1 ounce of gamboge, 1 24 THE GILDER'S MANUAL. ounce of vermilion, half an ounce of dragon’s blood, 2 ounces ol salt of tartar, and 18 grains of saffron, are boiled in a litre (2 pints English) of water, over a slow fire, till the liquid be re¬ duced to a fourth. The whole is then passed through a silk or muslin sieve. A little of this is made t > glide lightly over the gold, with a very soft brush. 17. Repassage is passing over the dead surfaces a second coat of deadening glue, which must be hotter than the first. Thii finishes the work, and gives it strength. RE-GILDING. The large variety of articles supplied new by the trade in the course of time require renovation and re-gilding, but this process differs but little from that of gilding a new article in the white. There are a few things necessary to look to, not generally re¬ quired in new work, and we will now mention them If the article required to be re-gilt is the frame of a chimney glass, the back must be carefully taken out, and the wedges holding the glass in its place must be removed, taking care they do not touch or scratch the back of the glass, and the glass taken out. Take off the ornaments on the top and the sides, if they are not compo, taking notice how again to secure them in their place. The ornaments are put on with screws from the back of the frame, or with brads and needle points. Dust well down both frame and ornaments, and be particular to see well to the rabbet that no particles of quicksilver remain, as any quicksilver coming in contact with your newly-gilt frame will turn the gold black. Proceed to wash off all the old geld, and shell up any of the preparation that is not firm ; also ornaments that may be loose on the back or sight edge of the frame. A piece of cloth will be found to be the best thing to clean off the old gold, as there is more friction than in a sponge, but the sponge will be useful when the gold is removed to carefully go over the frame. If the frame Las been varnished or gilt in oil, glass paper must be used till all the gold is removed, when a slight wash over to remove all the remaining particles of dust will be advisable. If in wash ing the frame you find any of the preparation blister up, you will know it in bad, and the parts blistered must in scraped off THE GILDEItJ3 MANUAL. 25 down to the wood, and when dry a coat of thin white of medium strength applied. Of course these remarks will be applicable to the ornaments as well as the frame ; and if you whiten the backs of the ornaments, be particular not to let any run on to the front; if it should do so, see that it is removed before it is dry, or smooth it down. Glue on to the backs of the ornaments some blocks of wood about an inch high, when they will be found most useful in keeping the work from rubbing on the bench, and also to catch hold of in laying on the preparations and gold. The ornaments and frame are now ready for stopping , and making good all defi¬ ciencies, either in ornaments or preparation, and when the stop¬ ping is dry to glass paper over, and give another r- the bottoms : and when clean and dry, go over them with Fiench polish laid on with a brush. Put the orna¬ ments “ in oil ” in the usual way and gild, when they will be found to look a good color, and the gold will not be liable to scratch off. The thin coat of French polish* has been found to be a good foundation for the gold, as there is no shelling up. Where the articles are required to bear a brilliant burnish they had better be re-lacquered. TO FROST A CARDBOARD MOUNT IN GOLD OR SILVER. Mounts to be frosted should be made out of stout cardboard, so that the preparations laid on do not cause it to warp. Give the mount first two coats of thin parchment size, and when dry a good coat of oil gold size. Throw on in sufficient quantity, fine, middle, or coarse emery to well cover the surface, (as you may want the frosting coarse or fine), and allow the sur¬ plus not adhering to the oil to roll off again. Lay the mount flat till the morning, or till the emery is fast on the suiface. There should then be a coat of whitening and size lightly laid on, so as not to disturb the emery, and when it is dry a coat of clay and another coat of oil gold size, and left till the following morning, when gold or silver leaf may be laid, and finish sized. These mounts are very effective for portraits or other small works of art. ’See page 134. THE GILDER’S MANUAL. 27 TO GILD OAK AND OTHER HARD WOOD. It is sometimes required to gild the bare wood, so as to show the grain. This may be done to look very well with oak and other hard wood, but with soft wood the grain would rise, and present a very rough appearance. Well glass paper down the surface to be gilt, and apply two coats of strong parchment size, and when dry, oil gold size. The gold can be laid when this is nearly dry, and will brush off bright. The above is suitable for the bevels of oak Oxford frames, screens, church decorations, and any hard wood. TO GILD A CARDBOARD MOUNT. Lay on three coats of matt, and lightly wash and rub down with a piece of cloth to get a perfectly smooth surface ; weak size^ and gild according to instruction in water gilding. The mount to be gilt should be made of stout cardboard. GILDING PLASTER CASTS, BRACKETS, &0. Fasten a pledget of tow or a piece of sponge to the end of a stick ; immerse it in olive oil, and daub the cast plentifully with it ; in two hours this will be absorbed; the operation must be repeated again and again until the plaster is saturated to suet a degree that it ceases to absorb the oil readily ; then leave the cast in a dry place for twenty-four hours. With a soft brush lay a thin and even coating of thin glue (made of the best white) over the whole surface. Again leave it to dry ; then have ready japanner’s gold size and sufficient gold leaf. When the cast or bracket is perfectly dry, coat a portion of it evenly, and not too thickly, with the gold size ; and when that is nearly dry, (which will, under ordinary circumstances, be in about ten minutes), apply the gold leaf, previously cutting it into pieces of the re¬ quisite size, or laying it on where practicable by the page. After carefully gilding the whole, dust away superfluous bits with a clean dry, soft brush, and burnish portions here and there with a hook-shaped pettle, or agate burnisher. When durability is desired, rather than brilliancy of effect apply a coat of copal varnish. 28 THB OILDBB’fl MANCJAI* GILDING FOR SIGNS ON WOOD. SIZES FOR GILDING SIGNS ON WOOD. Before considering this branch of the sign painter’s art it will be best to treat upon the various sizes in general use among them. Let every painter make his own size, and then he will be less likely to be a stranger to what he wants. If it be too slow in drying, or if it dries too quickly, he will be able to know what is required to make it right. An excellent size is made by putting boiled oil in a good stone pot ; place it upon a slow fire, and let it rise to such a heat as nearly to ignite ; then with a match or bit of lighted paper set fire to it, and let it burn for a few minutes, so as to thicken ; then lake a piece of cloth and cover the pot, to put out the flame, and it will then be like syrup or thin tar. This done, strain it through a silk stocking or handkerchief into a bottle and keep it closely corked. When you wish to use it, thin it with turpentine, but be careful and not use it too thin. Another Recipe. — Another good size for gilding may be made in this way : Procure some pure old drying oil, the older the better; grind into it some ochre and a little of the best quality of red lead ; then thin it to a proper consistence ; form your letters carefully, laying it very even and thin, and let your work stand until so dry as only to have sufficient “tack” to hold your leaf. Apply the leaf with a gilder’s tip carefully and lay it smooth with a flat camel-hair brush or a ball of fine cotton wool, but do not brush oil all the superfluous gold until you are sure thfit the under size is perfectly dry and hard. This gives the gold its full brilliancy and stands the weather well. Quick Drying Size. — Take a little good, quick-drying copal varnish ; add to it a small quantity of your old boiled drying oil, just enough to give it “ tack,’' and when dry enough lay your leaf as before directed in page 29. A Size known to but few. — Take one pound of good, pure drying oil ; put it in a metal pot with a cover ; slowly add to this, after it has come almost to a boiling point, four ounces of pure gum animi (not copal ; gum dealers are of the opinion generally that animi and copal are one and the same, but such is not the case). Have your animi reduced to a fine powder ; (ake it upon the point of your pallet-knife and put it in caution*- THE GILDER’S MANUAL. 20 ly, little by little, until you have it all in, allowing time to dis¬ solve, and all the while keep stirring the mixture. Boil to the consistency of tar, and while warm strain it through a piece of silk inio a heated, wide-mouthed bottle ; keep well corked, and when required, thin with turpentine and mix thoroughly. If you grind a little vermilion with this size it will show you what you are doing when using it. This size will gild on glass, china, metal, signs, and nearly everything, and if properly made has no equal ; being more durable, it gives more luster to the gold than any other size, and has the very singular property of retaining the “tack” longer than any size known. This is the “secret size,” used by the best artists in London and Paris, and the one used by the justly celebrated japanners of Birmingham, who produce the finest work in decoration to be found in the world’s market. The artist must be furnished with a gilder’s cushion, with parchment back and ends ; a knife to cut his gold ; a “ tip,” or brush, to lift his leaf with ; a ball of cotton wool, and a flat camel-hair brush to clean off with. Take a little clean tallow on the back of the left hand, and then draw the “tip” quietly over the tallow and it will receive enough to take up the gold. Then place it lightly upon the work, to which it will adhere readily, and so continue until all your sized work has been covered with it. The next thing to do is to pad it down lightly with your cotton ball, being careful to omit no portion of it, for if a mistake oc curs on the first going over, you will find it very difficult to mend it afterward. So be particular in your work and miss no part of it. As before stated, do not thoroughly brush off your work until entirely dry. Always, when gilding, try your size upon a piece of painted board or glass, in order to determine accurately the length of time it requires to dry. If it dries too quick, add some oil. If you size to day and gild to-morrow, and should you find the size too dry in the morning, you will have to add a little old, fat, raw linseed oil, as this tempers it so that you can set your own time for the gilding. A few experiments in this connection will en¬ able you to master and regulate the nature and operation of size. For a Size Exposed to the Weather. — One thing has been proved by experience, that is, that no gilding exposed to the extremes of summer and winter, wet and dry, cloud and sun¬ shine, should ever be varnished. The bare gold, if good, and on good size, will stand better, change less, retain its luster longer, with less liability to 30 THE GILDER’S MANUAL. “dulce,M or crach, than when varnished, although done with the best copal varnish ever made. I have seen a sign done with gold, upon a black ground, that had stood the weather forty years ! The board had given way to the effects of the weather, and had fallen away in many places, leaving the letters standing out bold, in good form and wTell pre¬ served. So much for good size and no varnish. GILDING ON GLASS FOR SIGNS. This beautiful art is worked in many different ways, every artist having his own peculiar method. One very good way is to first outline with a piece of hard soap your letters, scrolls, etc., (on the outside) then commence to out¬ line on the glass (inside; with some suitable color, a light shade line for the top and left side of the letter ; then upon the bottom and right side of them use a black, or, in fact, almost any color you may select. When dry proceed to lay on your gold. Some use gin, some whisky, others simply water ; gum arabic in solution, or white of egg, may be used. One can merely breathe upon the glass and it will sometimes answer the purpose of a “ tack ” for the gold. I have found an excellent size, made from a solution of gum tragacanth in water. The first part that dissolves is the part that suits best ; that port) on being pure, while the residue is cloudy and unfit for use. When wanted to use, reduce a portion of the gum with wra*er to a very wTcak standard, as in all cases you will find your gilding bright in exact ratio to the thinness and transparency of your size. I consider this the most desirable size, especially for large work. Note.— For the instruction on Gilding for Signs , and the other informa¬ tion given from page 28 to 33 inclusive, credit is due to “ Haney’s Manual of Sign, Carriage, ancl Decorative Painting.” In our present work we aim to give full information on Gilding in all its branches, and all necessary in¬ struction on matters directly relating thereto. A multitude of valuable and interesting matters, which every sign, carriage and ornamental painter should be in possession of, do not come appropriately within the scope or capacity of tnis book, and we recommend all interested in those branches to refer to the “ Manual of Sign, Carriage and Decorative Painting ” for a full and practical course of instruction in those branches. The articles on Gilding which we quote are a sufficient evidence of the familiarity of the yi^hnr with the subjects which he treats THE GILBERTS MANUAL. Si OUTLINING UPON GLASS. First Method. — Draw your lines upon the glass at the proper distances for the size of your letters, etc., with a piece of hard soap, which will make very distinct lines. Then form your .etters accurately, and in true distances or space, one from the other, being satisfied that all your proportions, etc., are correct. You will now be ready to commence your gilding. Second Method. — Have your letters, etc., diawn out on fine paper ; prick with a pin the outlines of your letters, scrolls, etc Next t»ke * bag made of muslin, filled with fine powdered char¬ coal ; lay the paper carefully to its proper place ; then pounce the charcoal bag against the paper, and you can then trace the outlines in full with black japan. To make all secure it will be necessary to give the work two or three coats, and when dry, wash or mb off all superfluities with a sponge or soft cotton rag. N. B. — This method is only used after gilding, where the lea. is placed full without any outline. Third Method. — To get accurate lines upon glass, preparatory to gilding. In the first place, clean the glass thoroughly ; then with a mixture of whiting, water, and a little milk, brush care¬ fully all over the outside of the glass. When dry, draw your parallel lines, letters, scrolls, etc., with a pointed stick. For small work, turn the glass around, and letter backward. If inside of a window, work upon the same principle. This is an easy and a true method of forming your lettering or ornamen¬ tation, as any fault in the drawing can be easily corrected. Fourth Method. — In this plan it is necessary that the glass should be perfectly accessible on both sides — say for instance a glass door. The painter begins by painting the letters just as he wishes to have them — (unless he wishes to give them a shade in color, in which case he outlines the shadow) with a mixture of gum water and drop black on the front of the glass. Then going to the other side, or back of the door, he gilds as hereafter described. This obviates all difficulty about writing letters backward — as he has only to follow the lines he sees through the gold. Of course, in shaded letters, he only fastens the gilding over the body of the letter with black japan, and when the gold is nibbed off, he adds the shades. This method seems, in description, to take longer time than either of the others— but it really takes less. MODUS OPERANDI FOR GILDINO ON GLASS, Whichever size you agree upon, lay it on with a full pencil, and proceed with your gold at once, so as to secure a solid 32 THE GILDER’S MANUAL. ** cover” without being obliged to “ touch up,” and if you wish to u e two coats of gold, blow your breath upon the first coat to hold the second. Lay as much gold as possible before your size dries, and so proceed until your lines are finished. Then rub it down gently to remove the superfiuous gold. Then proceed to outline as in second method given ; or draw your parallel lines through the gilding (if in capitals of one given length) and cut in your letters with black ja:ain very carefully, forming them all backward. . This is the principle of the first method, but it requires consi¬ derable practice to do it correctly. If any ornament is wanted in the body of the letters, lay them in with oil size. When dry, gild and shade if required. When all is dry, lay in the entire letter with the size (spirit or water size) and gild and back, as above, viz : with two or three coats of black japan. The shading is done afterward, and in any colors the artist may decide upon. It generally takes two coats to cover solid upon glass. Gilding upon glass requires great practice and nice hand ling, but with proper care, this process looks very beautiful and stands well. Silver leaf is laid on in the same manner, only it requires a Jittle stronger size than the gold calls for. The silver being heavier relatively, use the size of gum tragacanth. One point seems rather difficult — that of having to form tlit letters backward, but practice is the only thing that will make perfect in this respect, and enough of it will make, what at first seems a difficulty, as easy as the formation of letters in the ordinary way. JAPANNED TIN SIGNS. Draw your letters on paper to suit your sheet of tin, having first cleaned it with diluted alcohol and a piece of cotton. This will remove any grease or other matter that might hold the gold. Then take some whiting and rub it over the back of the papei upon which your design is made and lay it upon the japan¬ ned tin. Place a weight upon the four corners of the paper, or other¬ wise fix it securely to the tin; then with a fine pointed piece of hard wood, trace the design carefully, bearing upon the papei with the point just hard enough to cause the whiting on the under side of the paper to adhere to the tin, and after going carefully over the whole, you will have transferred the entire design in fine white outlines to the tin you are to finish it upon. THE GILDER^ MANUAL. 83 Then paint your letters with either quick or slow drying oil size, and, when sufficiently dry for gilding, lay on the gold leaf, and “bat” it down thoroughly, afterward brushing off with your flat camel-hair brush or cotton. GILDING ON MUSLIN OR SILK FOR PAINTERS. For Masonic or Oddfellow's aprons, banners, or any work of like nature, a few words may be useful. First have your material put upon a stretcher, and then com¬ plete your lettering and design. Prepare a size as follows : Dissolve bleached shellac in alcohol, and thin as much as will cover the parts to be painted or gilded, using the precaution to cut over the outime a little, so as to prevent the color from spreading. Another size may be prepared by simply using the white of an egg. This size will do where the work is not exposed to the weather, or when it is required to be done quickly; and for such work, where gilding is to be done, lay the gold while the size is wet, and when dry, dust off the surplus gold and proceed with the painting, shading etc., when you are sure that the size is dry, remember. SIZE FOB BRONZING AND GILDING. A good size for bronzing, or pale gilding, is a mixture of asphaltum, drying oil, and spirits of turpentine. A size for gilding on cloth, silk, plaster, etc., is made as fol¬ lows: Take a little honey, combined with thick glue. When reduced properly, this size has the effect of brightening the color of the gold leaf, sticking to it well and giving it a very fine luster. BURNISHED GILDING ON GLASS— LONDON METHOD. The gold used is the ordinary gold leaf. Procure some fine fcinglass, and place about as much in a tea-cup as will cover a lix penny piece, and then pour on it about half a cupful of boiling water, which will dissolve the isinglass. Before the water is cold add about as much spirits of wine as there is water in the cup ; then strain the whole through a clean silk handkerchief, and the mordant is ready for use. The addition of the spirits of wine is most material, as without it the gilding cannot be satisfactorily accomplished. Whatever may be the design or lettering to be executed on the glass, it must first be set out on a sheet of white paper, and painted with Brunswick black, so that it cau •* i 34 THE GILDER*8 MANUAL. be seen through the paper. This paper should be fixed at tha edges or corners to front of the glass, the writing, of course ap pearing backward through the glass when looked at from the side to be gilded. The glass having been thoroughly cleansed and rubbwi with a silk handkerchief, the gilding may be commenced, the gold leaf being laid on the reverse side to that to which the paper is rttached. It is usual to place the glass in a slanting position on an easel, the lines of lettering not being horizontal, or reading from left to right, but perpendicular, reading from top to bottom. The size is put on with a large soft camel-hair pencil, and the gold leaf applied in the usual way. If the line of writing is less than three inches in liight, it is advi sable to gild the whole line, without paying any regard to the shapes of the letters, so that when the line is finished it will be a solid piece of gilding about the same hight and length as the letters. The first piece of gold leaf should be placed at the beginning of the line, which is the top of the glass, and each succeeding piece below it, the different pieces just overlapping each other. It is necessary to be particular in this, for if the pieces of gold do not meet, the interstices will probably show when the work is com pleted, and will prevent the uniformity of burnish. For letters larger than three inches in hight, the gilding may be made to cover each letter, leaving the spaces between untouched. As soon as this part of the gilding has been completed it should be left to dry in a warm room, or placed before the fire, in which case it will be dry in a few minutes. When the gilding is per¬ fectly dry and bright, it should be rubbed over very gently with a piece of cotton -wool. This will highten the burnish of the gold, and, and remove the loose pieces which do not adhere to the glass. After the gilding has been treated as described, a flat soft ^camel-hair brush charged with the isinglass size should be 'passed lightly over the work ; but not worked to and fro, or it will remove the gold leaf. The size should be flowed on freely and rapidly, and if any small pieces have been omitted, no at¬ tempt should be made to retouch them while the size is wet. When it is dry the gilding will resume its brightness. In order to complete the burnish of the gold, sometimes hot water is poured over the gilding, and this not only washes out any little specks which may appear on the front of the gold, but enhan¬ ces its brilliancy considerably. The hotter the water poured over the work, the brighter does the gilding become, but care must be taken, as beyond certain degrees of heat the water will break the glass. This was very common, but the hot water bath THE GILDER^ MANUAL. 85 now is often dispensed with, and the size coated over the gilding is applied hot. Another plan is to hold a hot flat iron near the work for a moment. This method is not quite so effective but it is much safer. The whole of the gilding has now to be repeated. A second layer of gold leaf over the first is necessary to ensure a satisfactory result. The second coat of gold is put on with the isinglass size, the same as the first ; and as it dries, the gilding viewed from the front of the glass wi” present a rich and finished appearance. The loose pieces of gold should be removed as after the first coat, by means of cotton-wool gently rubbed over the work. Another coat of size made hot may now be applied, and the gilding is ready to be written upon. It is better to leave the gilding on for a day before writing upon it, because the isinglass does not get thoroughly hard, though to all appearance it is per¬ fectly dry in an hour or two. If the gilding is left untouched for two or three months, the action of the spirits of wine will cause the gold leaf to adhere so firmly to the glass that it will be difficult to remove it by any amount of washing with water ; whereas in the course of a few days after it is laid on, it may be readily removed by a damp sponge. The outline is transferred and the letters painted with Japan black and other methods. When the japan is dry, the edges of the letters may be cut sharp and true by passing a small chisel along a straight edge, so as to l rim the writing and make the tops and bottoms perfectly regular. All the straight lines of the letters may be thus trimmed, but the curved ones must be perfected with a writing pencil The softened colored thicknesses added to the letters are painted with the ordinary oil colors thinned with boiled oil and turpentine, the latter being used sparingly. Three or more tints are generally mixed on the palette, with a separate pencil to each, and these are softened with a larger sable pencil, and the outer edges are cut up with a pointed stick guided by a straight¬ edge, whilst the color is wet, and the superfluous color is wiped off with a piece of rag. By this means a sharpness of outline is obtained which the most skillful writer would fail to get by the mere use of the pencil. The shadow is put on as soon as the thickness is dry, and not being softened down, quick drying col¬ ors may be employed. 36 THE GILDER’S MANUAL. GILDER’S TOOLS. The tools used by the gilder are few, and not very costly. A short description of each may be acceptable. The gilder's cushion is used to spread the gold on, ready to cot Fio. 1. — The Gilder’s Cushion. up for use. It is a piece of wood about 8 inches by 5, covered with calf skin, with a piece of soft fabric introduced between the wood and the leather. The leather is strained tightly over the board, and nailed on to the edge. A piece of parchment about three or four inches broad is nailed half way round the board, Fig. 2. — The Gilder’s Knife. and is meant to keep the gold leaf from flying off, as the least disturbance of the atmosphere is enough to send the gold leaf flying. A loop is placed under the cushion in which the thumb is inserted, and serves to carry the cushion. (See fig. 1.) THE GILDER’S MANUAL. 37 The gilder '* I nrfc is a light flexible blade, free from notches, hut not very sharp, used to cut the gold on the cushion to the re¬ quired shape. It must be kept clean, smooth in the edge, and bright, or it will tear instead of cut the gold. (See fig. 2.) The gilding “ tip ” is a thin layer of flexible hair held togethei between two pieces of cardboard, and made of various widths, Fig. 3.— -The Gilding Tip. and the length of hair varies also. The tip is used to convey the gold from the cushion to the work required to be gilded. The manner of using the cushion, the knife, and the tip, is as follows: The gilder first proceeds to open the book of gold leaf, and dex¬ terously blows the leaf from the book into the cushion until he has about a dozen ready for use. He then takes up the cushion, and slips his left hand thumb through the loop underneath; then with the end of the knife he carefully takes up a leaf of gold, and dexterously brings the metal to the front of the cushion, when 38 the gilder’s manual with a slight, puff of wind from the mouth on to the center of the leaf it is made to be perfectly flat. He then with the knife cuts it to the required shape, and places the knife between the Angers of the hand carrying the cushion. The tip (which is also carried between the fingers of the left hand) with the right hand is then drawn quickly across the hair of the workman’s head, or across the back of his hand, which gives it a little moisture, and on bezrrg piaced on the gold required to be lifted, carries it to the work to be gilded. This operation is repeated till the work is complete. (See fig. 3.) The burnisher is a tool used by the gilder, and is made of eithei agate or flint. For beads and hollows, the burnishers are of differ¬ ent form and size to suit the work, and are usually curved near the end. The method of using the burnisher can only be attained by practice, when the sound and smooth passage of the burnisher over the gold will tell the workman if he has been successful in obtaining a good burnish. (See fig. 4.) Brushes of various descriptions are constantly in use by the gilder ; ground hog’s hair, flat and round; these are used for the various preparations of gold size: skewing brushes in quill are used for skewing or dabbing in the gold after it has adhered to the oil gold size : gilder’s mops in quill are used to dab the gold to make it closely adhere to the size; camel’s hair brushes of all sizes are useful, as well as sable and other tools. Modelers, both steel and wood, are used to fashion ornaments that are broken and lost. The gilder also uses pumice stones of various shapes, glass- paper, pallet knives, etc. LAYING GOLD LEAP. Some find it difficult to use the tip and cushion, owing to un¬ steadiness or want of “ knack.” Ail such might try the follow¬ ing method: Cut off the back of the book with a keen knife; have a flat dish with a little turpentine in it; take a small sponge, dampen with the turpentine and pass over the top of the book, so as to dampen the paper all over. The leaf will adhere as you lift the top sheet, which can be cut with scissors into any shape and carried to the work. This has been found an economical and also a quick way for most work, especially stripes. If carefully lifted, the gold will adhere to the paper without the use of turpen¬ tine. l THE GILDER’S MANUAL. 39 GLASSWARE AND PORCELAIN- TO GILD GLASSWARE AND PORCELAIN. Drinking and other glasses are sometimes gilt on tlieir edges. This is done either by using an adhesive varnish or by heat. The varnish is prepared by dissolving in boiled linseed oil an equal 'w eight either of copal or amber. This is diluted by a proper quantity of oil of turpentine, so as to be applied as thin as possi¬ ble to the parts of the glass intended to be gilt. When this is dry, which will be in about 24 hours, the glass is to be placed in a stove, till it is so warm as almost to burn the fingers when handled. At this temperature the varnish will become adhesive, and a piece of leaf gold, applied in the usual way, will imme diatcly stick. Sweep off the superfluous portions of the leaf, and when quite cold it may be burnished, taking care to inter¬ pose a piece of very thin India paper between the gold and the burnisher. If the varnish is very good, this is the best method of gilding glass, as the gold is thus fixed on more evenly than in any other way. PERMANENT GILDING BY HEAT. It often happens with glassware or porcelain, when the varnish is but indifferent, that by repeated washing the gold wears off; on this account the practice of burning it in is sometimes had recourse to. For this purpose, some gold powder is ground with borax, and in this state applied to the clean surface of the glass by a camel-hair pencil; when quite dry, the glass is put into a stove heated to about the temperalure of an annealing oven; the gum burns off, and the borax, by vitrifying, cements the gold with great firmness to the glass; after which it may be burnished. The gilding upon porcelain is in like manner fixed by heat and the use of borax. GILDING ON PORCELAIN OR GLASS BY DIPPING. Mix first in a glass mortar, and then between a muller and a ground plate glass, neutral chloride of platinum with rectified essence of lavender, so as to form a thin syrup, which is applied with a brush in very thin layers upon the glass, porcelain, or other ceramic object. After drying, heat in a muffle up to a 40 THE GILDER^ MANUAL. dark red; this temperature reduces the platinum to the metallic state; it then appears with a perfect polish. After cooling, pass the whole object through aquafortis, which is without action upon the platinum, but destroys the impurities which may tar¬ nish its surface. Rinse in plenty of water, wrap the object with a few turns of tine brass wire, having numerous points of contact with the platinized places, and dip into the gold bath. After a few minutes the platinum is covered with gold which has the same adherence and polish. Rub the gold with chamois leather; this method dispenses with burnishing, which is costly, and often impracticable in the deeply indented parts. If the gilding is too red, add to the bath a few drops of a solution of double cyanide of potassium and silver liquor for silver electro plating. This method is preferable to that of baths with separate battery ; the gilding has a bright instead of a dead luster, and it* adherence is greater. Another Method. — The following is said to give good results • Pure chloride of gold is dissolved in water, so that each quart of water shall carry in solution after careful filtering three quarters of a grain of gold. Neutralize the solution with soda. A por¬ tion of alcohol is then mixed with an equal quantity of water and a stream of hydrogen gas driven through it until it wifi receive no more gas. The glass being then perfectly cleaned and a border put around it of wax, or other material one-tenth of an inch thick, a portion of alcohol and water is mixed with sufficient chloride to cover the glass. Precipitation is said to commence in a few minutes, the gold coming out quite bright, and making a tolerably firm coating. GILDING ON METALS. GILDING ON METALS BY DIPPING. The baths employed contain go d in the form of a double salt of protoxide, and should possess little stability, that is to say, be decomposed and abandon the gold under feeble influences, and should dissolve the copper placed in them in equivalent propor¬ tion to that of the deposited gold, thus forming a new double salt in which the copper is in the same degree of oxidation as the THE GILDER’S MANUAL. 41 gold. When the articles have been previously amalgamated, it is mercury and not copper which is substituted for gold in the solution. PREPARATION OP THE GOLD BATH. Distilled water, seventeen pints ; pyrophospate of potash, of soda, twenty -eight ounces; hydrocyanic acid of twelve and a half per cent, strength prussic acid, one-third of an ounce ; crystalized perchloride of gold, two-thirds of an ounce. The pyrophosphate of soda is most generally employed, and is obtained by melting, at a white heat, the ordinary crystalized phosphate of soda. The pyrophosphate of soda may be obtained in the form of crystals, which is a proof of a definite composition. The quantity of chloride represents a little more than one-third of an ounce of pure gold treated by aqua regia. Put 16 pints of distilled water in a porcelain vessel, or an enameled cast-iron kettle, and add, by small portions at a time, and stirring with a glass rod, the pyrophosphate; heat, filter and let it cool down. The chloride of gold is prepared by introducing into a small glass flask pure gold finely laminated, of one-third of an ounce; hydrochloric acid, pure, nearly one ounce; nitric acid, pure, one-half an ounce The flask is slightly heated, effervescence and abundant nitrous vapors result, and in a few minutes the gold has entirely disappeared, leaving a reddish-yellow liquor. The flask is then put upon a sheet of iron, with a hole in its center, and supported by a tripod. The whole is heated by a gas or spirit lamp to evaporate excess of the acids; too much acidity may cause great irregularities in the working of the bath, and even prevent its action altogether. An excess of nitric acid causes a jumping of the heated liquors, and may overthrow the whole ; it is prefer able to have the hydrochloric acid predominating. The evapora¬ tion is finished when vapors escape slowly from the flask, and when the liquid has become of an oily consistency and of a deep i red color. The flask is then removed from the fire by wooden pincers, and set to cool upon a ring of plaited straw. If a more rapid evaporation is desired, heat the flask over ignited charcoal, or the spirit lamp; agitate the liquid to prevent any of the gold from returning to the metallic state. Well prepared chloride of gold, when cold, forms a saffron-yellow crystalline mass. If the color is red, it has been too much evaporated, and will do very ' well for electro baths ; but for dipping baths it must be heated again after a small addition of the two acids. If the perchloride of gold, by too protracted a heat, has passed to the state of in¬ soluble protochioridc, 01 even uf metallic gold, the treatment 42 tiie gilder’s manual; must be begun again with the indicated mixture of pure nitric and hydrochloric acids. The perforated sheet of iron, upon which the flask rests, is intended to prevent the action of heat upon the sides of the vessel, which will decompose the films of chloride of gold wetting the flask at these places. When the chloride of gold is cold and crystallized, dissolve it in the flask w ith a little distilled water, and pour the solution through a paper filter held in a glass funnel into a clean bottle; this is to separate a small quantity of silver always found in the gold of the trade. Rinse the flask and filter with the unemployed wrater, so as to get all the gold into the bath. Pour the filtered solution of chloride of gold into the cooled one of pyroposphate, and stir with a glass rod. Lastly, add the hydrocyanic acid, and the bath is heated nearly to the boiling point for use. If the solution of pyrophosphate is still tepid, add the hydrocyanic acid before the chloride of gold. Hydrocyanic or prussic acid is not abso¬ lutely necessary ; but, wdthout it, the bath is too easily decom¬ posed, and the gold is too rapidly precipitated upon the objects placed in it. When the solutions are mixed in the cold, the liquor is yellowr or greenish-yellow ; but becomes colorless by the increase of temperature. If the liquor becomes currant- red, or wine-lees violet, it is an indication that there is too little hydrocyanic acid ; add it drop by drop, until the liquor becomes colorless. An excess of this acid is objectionable, but there is a very simple method of keeping the baths in good working order, by adding prussic acid gradually to those too rich in gold; or correcting any excess of prussic acid with a small proportion of chloride of gold, until the gilding is produced without diffi¬ culty and of the proper sli de. Thus prepared, the bath will produce very fine gilding upon wTell-clcansed articles, which must also have passed through a very diluted solution of nitrate of binoxide of mercury, without which the deposit of gold is red and irregular, and will not cover the soldered portions. The articles are supported by a hook or in a stoneware ladle per¬ forated wutli holes, or in brass gauze baskets; they must be con¬ stantly agitated whilst in the bath. Gilders usually employ three baths, placed in close proximity to each other, and heated in the same furnace; the first bath is one deprived of gold by a previous operation, and is used for removing all excess of wiiicli may remain upon the articles; the second bath still retains some gold, but not enough to give a sufficiently rich gilding. The pieces passed through it begin to receive the deposit, which will be finished in thickness and shade in the third bath. A gas furnace, easy to manage, and ciean in its working, may be arranged by having a properly supported sheet-iron plate, with holes cut out 43 THE GILDER’S MANUAL. where the kettles are to stand. Under each kettle place suitable gas burner ; when the baths have been heated nearly up to boil ing point, lower the gas, so as not to increase the temperature. This method produces much more gilding with a given quantity of gold, than one bath alone. The gilding is done in a few seconds ; the finishing operations consist in rinsing in fresh water, drying in dry and warm saw-dust, and burnishing, if desired. COLORING PROCESS. If the gilding is dull and irregular in color, melt together in their water of crystallization, at about 212° Fahr., equal parts of sulphate of iron, sulphate of zinc, sulphate of alumina and potash and saltpeter. Cover the articles with the mixture, and put them into a cylindrical and vertical grate. This is placed in th<* center of a furnace, where the charcoal burns between the sides and the grate which holds the articles. When the moistened fin¬ ger is presented to one piece, and a slight hissing sound is heard, the heat has been sufficiently raised ; put all the articles rapidly into a very diluted solution of sulphuric acid, where the coating of salts is quickly dissolved ; the articles present a warm, uniform shade of color. If the copper articles are not entirely gilt by the first operation, the ungilt portions will show themselves by a red coloration, and the articles must then be deprived of gold, cleansed, and gilt anew. Sometimes, when the first gilding i& imperfect, instead of coloring by the process just described, the articles are placed for a few moments into the electro-bath. For articles which require a good plating there is an easy method by this process of obtaining as good results as by the battery ; it consists in gilding several times, by dipping ; before each dipping, the article is passed through the solution of nitrate of binoxide of mercury. Gilding by dipping is superior to that by electricity in depth of shade, brightness, and especially in not scaling off, as the deposit is of pure gold only. ORMOLU COLORING. This operation consists in smearing, by means of a brush, the gilt and scratch-brushed objects with a thin paste of nitrate of potash, alum, and oxide of iron, which have been well mixed and ground under the muller, and to which has been added a solution of saffrou, annatto, or any coloring substance according to the shade desired. If the gilding is strong and thick, the objects are then heated until this coating curls over at the approach of a wet finger. If the gilding is a mere film, the mixture is simply al- 44 THE GILDKR'8 MAtftJAL. lowed to stand upon the articles for a few minutes. In cither case, the whole is rapidly washed in warm water holding in sus¬ pension a certian quantity of the materials for ormolu ; they are then rapidly dried, when they appear of a darker shade ; remove any portions too much colored by striking them vertically with <* brush having long bristles. If the tint does not appear satisfac¬ tory, commence the operation afresh, after washing off the or¬ molu in a diluted solution of sulphuric acid. GREEN AND WHITE GILDING. These shades may be graduated at will, and are obtained by adding, drop by drop, until the desired shade is arrived at, to the bath of double pyrophosphate of soda and gold, a solution of ni¬ trate of silver. For the solution of nitrate of silver, dissolve in 5 oz. of distilled water, $ oz. of nitrate of silver crystallized, or of lunar caustic. Before gilding green or white, yellow gild the ob¬ jects in the ordinary bath, then pass them rapidly through the mercurial solution, and, lastly, dip them into the gold bath hold ing the nitrate of silver, which parts rapidly with its silver upon the first articles steeped in it. It is necessary to maintain the constancy of the shade by the addition of a few drops of the sil¬ ver solution when required. GILDING SILVER BY DIPPING. The silver articles, previously cleansed and scratch-brushed, are boiled for about half an hour in the gold bath of pyrophosphate, to which add a few drops of sulphurous acid, or, preferably, hy¬ drocyanic acid, in excess of the quantity needed by the primitive bath. This gilding is very fine, but without firmness. The deposit is rendered more rapid and thicker when the silver arti¬ cles are stirred with a rod of copper, zinc, or brass. GOLD DIPPING BATH WITH BICARBONATES. The bicarbonate bath is prepared in a cast-iron kettle, turned clean and smooth inside on the lathe, and gilt by the protracted ebullition of nearly spent gold baths. Water, 3£ galls. ; bicarbo nate of potash of soda, £ oz. ; pure metallic gold, transformed in¬ to chloride, 4^ oz. The whole is boiled for at least two hours, and fresh water added to replace that evaporated. A part of the gold in the form of a violet-b'ack powder, precipitates, and requires the cooling and decanting of the liquor. This is boiled again and 45 THE GILDER^ MANUAL. the gilding proceeded with in the same manner as before described except that the mercurial solution should be more diluted than for the baths of pyrophosphates. The operation is finished when about half of the gold in the liquor is deposited. The remainder goes to the saved waste. The bicarbonate process is inferior in most respects to the pyrophosphate, and it is now rarely used. I GILDING BY DILUTED BATH. This bath should be employed only as a complement to the cleansing process, before a more resisting gilding, as its results have little durability. Water, 2 galls. ; bicarbonate of potash, 7 oz. ; caustic potash, G3 oz. ; cyanide of potassium, 3 oz. ; metal¬ lic gold to be transformed into chloride, £ oz. The whole is brought up to the boiling point, and a pale gilding is obtained even upon articles imperfectly cleansed, and without using ni¬ trate of binoxide of mercury. It is possible to add £ oz. of chlo¬ ride of gold several times to this bath without any other sub¬ stances. Afterward maintain it at the proper strength by addi¬ tions of gold and salts in the above proportions, and it will last for an indefinite period. This bath will gild about 140 oz. of small jewelry with 310 oz. of gold, whereas a pyrophosphate bath gilds only about 35 oz. of small articles with the 3l0 oz. of gold ex¬ tracted from the liquor. GILDING SMALL METAL ARTICLES BY STIRRING ANT) GOLD AMALGAM. In the center of a charcoal stove put a crucible holding a given quantity of pure and dry mercury, and when the temperature has reached about 212 Fahr. add one-half the weight of gold. Stir with an iron rod until the amalgam has acquired the consistence | of butter, throw it into cold water, and keep it there for use. Cleanse the articles to be gilded in aquafortis, put them in a stoneware pan, and pour over them a diluted solution of nitrate of binoxide of mercury, taking care to move the articles about all the time, in order to cover them with a regular white coating of mercury. Add the desired proportion of amalgam ; on stirring the articles this is spread all over them. Then rinse the articles in cold water, place them in a large and deep copper ladle, perforated with numerous small holes, and having a long handle. Hold the ladle over a charcoal tire, and constantly stir it about in order to have the heat equal everywhere. The mercury of the amalgam is soon volatilized, and the gold remains adherent to the articles. •A* r i. v • . 46 THE GILDER’S MANUAL. If instead of a yellow gilding a red one is desired, this is got by waxing, which consists in pouring upon the pieces, kept in the ladle and upon the tire, in a well mixed and fluid state : oil, 25 parts ; yellow wax, 25 ; acetate of copper, 10 ; red ochre, 40. The articles must be coustantly agitated, and the mixture allow¬ ed to burn out, when the whole is thrown into a very diluted so¬ lution of sulphuric acid. The waxing is only to be done after the comple volatilization of the mercury. When removed from the pickle, the gilding has the dull ochre appearance, and must be scratch-brushed. Small articles are brightened in a long narrow bag, where they are put with copper pearls, or the waste from these pearls, and wet with vinegar wa¬ ter ; a to-and-fro motion is imparted to the bag, and the gilt ar¬ ticles and the copper granules polish each other. Kinse and dry in saw-dust, and burnish if required. Five grains of gold are enough to well gild a gross of old-fashioned buttons. GILDING BY FIRE OR MERCURY. Mercury gilding will furnish gold with a bright or a dead luster, scratch-brushed, ormolued, and M’ith different shades. The amalgam of gold is prepared in the manner described in the pro¬ cess of gilding by stirring, only a little less mercury is used, in order to have an amalgam about as hard as wax. This amal gam is crystalline, and a certain crackling sound is heard when the crystals are crushed between the Angers. A stock of amalgam is generally prepared in advance, and is divided into small balls of nearly equal size, the value of which is ascertained from their number, and from the total weight of gold employed. These balls are kept in water, but should not remain too long without being used, as the different parts do not then present the same composition. The amalgam is spread with the Anger upon a flat, hard stone called the gilding stone ; and having dipped a scratch-brush of stout brass wire into a solution of nitrate of binoxide of mercury until it becomes completely white, it is passed over the amalgam, a portion of which is car¬ ried away. The object, previously well cleansed, is scratch- brushed in every direction, and the brush must be fre¬ quently dipped into the mercurial solution to facilitate the regu¬ lar and even spreading of the amalgam. This operation requires great care to obtain a uniform coat upon the hollow and raised parts. V\ hen the back part of a piece does not require gilding, the flat outline, and the baek edge, should be gilt, so that the naked cop¬ per shall cause no injury in the subsequent operations. The ar« 47 THE GILDER’S MANUAL. tide, when uniformly covered with the amalgam, is heated upon a charcoal fire without draught, which rests upon a cast-iron plate. It is advisable to employ a gilding forge, which allows the workman to watch the operation from behind a glass frame, which protects him from the mercurial vapors. The entire at¬ tention is now required for watching the process. With the left hand covered with a thick glove of buckskin, turn the piece in every direction upon the fire, and, as the mercury disappears, with the right hand strike the article in every direction with a brush, the handle and the bristles of which must be long, to equal¬ ize the gilding, and to push the remaining amalgam upon those parts which appear less charged with it. When all the mercury has volatilized, the gilding has a dull, greenish-yellow color, re¬ sembling that of boxwood ; examine whether the coat of gold is continuous. Should a few empty places appear, add more amal¬ gam, and heat the whole again. The next operation is scratch-brushing; which furnishes a pale green color, and requires another heating for arriving at the de¬ sired shade. The reheating should expel any remaining mercury, and produce a fine orange-yellow color. In case a bright luster is required, submit the object, with the aid of heat, to the ormolu process already described. To obtain dead luster, the object ia firmly fixed to an iron rod, by wire of the same metal, and smeared with a hot paste for dead gilding, composed of saltpeter, common salt, and the double sulphate of alumina and potash. The whole is heated upon a brisk charcoal fire, without draught, and moved about until the mixture dries and begins to fuse, when the article is immediately placed in a barrel half filled with water. The covering of salts dissolves, and the dead luster ap¬ pears ; this operation requires a certain amount of practice. The gilding must be strong to stand the dead luster process, es¬ pecially when the first trial is not successful. The red lines left by the iron wire disappear by plunging the object into a not too diluted solution of nitric acid, or pure hydrochloric acid. Mer¬ cury gilders do not employ pure gold ; what they use is pre¬ viously alloyed with a certain portion of copper or silver. With the latter metal the gilding is green. Red gilding is either ob¬ tained with a dark ormolu or with the green for red, already men¬ tioned. COLD GILDING WITH THE RAG. Dissolve finely laminated pure gold in aqua regia made of nitric acid, 10 parts ; sal ammoniac, 4 ; saltpeter, 1. Heat carefully upon a gentle fire ; when all the gold has disappeared, pour the cooled contents of the flask into a flat-bottomed stoneware pan. 48 THE GILDER’S MANUAL. Into this liquor, place one upon the other, and in sufficient quan¬ tity, squares of linen cloth, stir them with a glass rod, in ordei that they may absorb the chloride of gold. Each square of cloth is taken out with wooden pincers, well drained, and spread for drying in a dark chamber. When nearly dry, each piece of cloth, supported upon glass rods, is placed on top of a charcoal fire, and soon takes fire. The combustion is aided by the presence of the saltpeter, and is fin¬ ished upon a marble slab. Grind the ashes under a muller, col¬ lect and keep them between the folds of a parchment leaf, around which a wet cloth has been folded. The powder is then ready to use ; mix it upon a slab with a few drops of water, and with this paste rub the well cleaned surfaces of the silver to be gilt. The smooth surfaces are rubbed with the thumb, the fillets or grooves with a fine cork cut to the proper shape, and the corners or angles with a stick of soft wood, such as linden or poplar ; the articles are then burnished. This gilding is very thin, but quite resisting, especially after the action of the burnishing tool, which forces the gold into the pores of the silver. If a red shade be desired, add a small proportion of pure cop¬ per to the gold to be dissolved in aqua regia. GRECIAN GILDING FOR BRASS AND COPPER ONLY. Equal parts of sal-ammoniac and corrosive sublimate are dis¬ solved in nitric acid and a solution of gold made with this menstruum. The silver brushed over with it turns black, but on exposure to a red heat it assumes the color of gold. GILDING BY DIPPING ON SMALL SCALE. Take one-half ounce of nitric and one-half ounce muriatic acid ; dissolve in these one pennyweight of gold, gently evaporate until it crystallizes, then add two ounces of cyanide of potassium dis¬ solved in fifteen ounces of water. The article to be gilded is to be simply put in the solution, and a piece of clean zinc placed on it, and moved from one spot to another until it is sufficiently covered with gold. The vessel containing the solution should be porcelain. GILDING ON STEEL BY DIPPING. In any quantity of nitro-muriatic acid ( aqua regia) dissolve gold or platina, until, on the application of heat, no effervescence en¬ sues. Evaporate the solution thus formed to dryness by means of a gentle heat ; then dissolve the dry mass thus formed in the least possible amount of water. Take the instrument known by chemists as a separating funnel, which may contain a liquid THE GILDER’S MANUAL, 49 ounce ; a quarter fill it with the liquid, and the other three parts All with the best sulphuric ether. The two liquids should not mis. Then holding the tube in a horizontal position, turn it round with the finger and thumb. When the ether has become impregnated with the gold or platina, which may be known by its change of color, replace it in a perpendicular position, and having stopped up the orifice with a cork, let it stand for twenty- four hoars. At the end of this time the liquid will be divided into two parts, the darkest colored being below. Take out the cork and let the dark liquid flow off, and stop the tube imme¬ diately with the cork. What remains in the tube is the gilding liquid. The article to be gilded must be perfectly free from nist or grease, and have received the highest possible polish. The process of gilding is as follows : A vessel of glass or unglazed ware having been procured, it should be filled nearly to the top with the gilding liquid. The article should be dipped in this for a moment, and then be plunged into clear water and well rinsed. After having been thoroughly dried with blotting-paper, it should be placed in a temperature of 150* Fahr. until it is heated throughout, and then polished with rouge and wash-leather ; or, better still, be burnished. Take care that the muriate of gold is quite free from excess of acid, and be careful to follow exactly the above directions in every particular, as only by doing so can perfect success be ensured. GILDING COPPER CHAINS, ETC., BY DIPPING. Take a solution of nitro-muriate of gold (gold dissolved /h a mixture of aquafortis and muriatic acid), and add to a gill of it a pint of ether or alcohol, then immerse your copper chain in it for about fifteen minutes, when it will be coated with a film of gold. The copper must be perfectly clean, and free from oxide, grease, or dirt, or it will not take on the gold. COPPER, BRA88, IRON OR STEEL WITH LEAP GOLD. Heat the articles, after thorough cleaning from rust or grease, to a blue shade ; apply the leaf and burnish down with a steel burnisher. Add leaf upon leaf in the same manner, until the gilding is as thick as desired. Iron or steel receive the gold bet¬ ter if dipped for a few moments in sulphate of copper solution, so as to receive a flash of copper ; or iuto a bath of the nitrate of the binoxide of mercury. GO THE GILDER’S MANUAL. GILDING BY THE USE OF THE BATTERY. BATTERIES. For gilding and silvering there are used four different kinds of batteries. The Daniels, the Smee, the Bunsen, and the Watts batteries. We will describe the latter because it may be made by any one and fully answers the purpose. The battery which I would recommend, says Mr. Alexander W atts, to the attention of the electro gilder, and those who desire to deposit metals by electricity on a moderate scale, consists of a N Fig. 5. — Watts Battery. cylindrical stone jar a (fig 5), capable of holding about four gal¬ lons ; inside this jar is fitted a cylinder of sheet copper c (this may be one sixty-fourth of an inch in thickness), a strip of the cop¬ per cylinder b, about half an inch broad, is cut off to within one inch, so as to form the positive electrode ; my motive in doing this is to insure a perfect connection between the positive pole and the cylinder, and to save the trouble of soldering. A circular piece of wood forms a covering to the jar ; in the centre of this cover, a hole about two inches in diameter is bored, to which an ox-gullet or weazand, d, is fastened, extend¬ ing to the bottom of the jar, the lower end of which is carefully tied with a piece of thick twine ; or a porous cell may be used Instead if preferred. A zinc bar e (fig 2) is cast, with a long and tolerably thick copper wire in it, one end of which haa been pre- THE GILDER’S MANUAL. 51 dously coiled into a helix, so as to form a spring, to prevent the breaking off of the wire at its junction with the zinc bar. The ox -gullet, or cell, is now nearly filled with a concentrated solution of common salt, to which a few drops of hydrochloric acid have been added, and the zinc bar immersed in it, but not allowed tf silver, and then filter it. Just before using it add to each ounce of the foregoing solution 2.V grains of Rochelle salt, immerse the glass as before, and expose to a subdued light while it remains in the bath. In about 2 hours the deposit of silver will be sufficiently thick. *8 THE GILDER’S MANUAL. TO SILVER GLASS SPECULA. Prepare three standard solutions. Solution A — Crystals ol nitrate of silver, 90 grains ; distilled water, 4oz. ; dissolve. Solu¬ tion B — Potassa, pure by alcohol, 1 oz. ; distilled water, 25 oz. ; dissolve. Solution C — Milk-sugar, in powder, | oz. ; distilled water, 5 oz Solutions A and B will keep in stoppered bottles for any length of time ; solution C must be fresh. THE SILVERING FLUID. To prepare sufficient for silvering an 8-in. speculum, pour 2 oz. of solution A into a glass vessel capable of holding 35 oz. Add, drop by drop, stirring all the time with a glass rod, as much liquid ammonia as is just necessary to obtain a clear solution of the gray precipitate first thrown down. Add 4 oz. of solution B. The brown-black precipitate formed must be just redissolved by the addition of more ammonia, as be¬ fore. Add distilled water, until the bulk reaches 15 oz. and add, drop by drop, some of solution A, until a gray precipitate, which does not redissolve after stirring for three minutes, is obtained then add 15 oz. more of distilled water. Set this solution aside to settle. Do not filter. When all is ready for immersing the mirror, add to the silvering solution 2 oz. of solution C, and stir gently and thoroughly. Solution C may be filtered. TO PREPARE THE SPECULUM. Procure a circular block of wood, 2 inches thick, and 2 inches less in diameter than the speculum. Into this should be screwed three eye-pins, at equal distances. To these pins fasten stout whipcord, making a secure loop at the top. Melt some pitch in any convenient vessel, and, having placed the wooden block face upward, on a level table, pour on it the fluid pitch, and on the pitch place the back of the speculum, having previously moist¬ ened it with a little spirits of turpentine to secure adhesion. Let the whole rest until the pitch is cold. TO CLEAN THE SPECULUM. Place the speculum, cemented to the circular block, face up¬ ward, on a level table ; pour on it a small quantity of nitric acid, and rub it gently all over the surface with a brush made by plugging a brass tube with pure cotton wood. Having perfectly cleaned the surface and sides, wash well with common water, and finally with distilled water. Place the speculum face down¬ ward, in a dish containing a little rectified spirits of wine, until the silvering fluid is ready. THE GILDER’S MANUAL. 99 SILVERING GLASS GLOBES. 1. Take | oz. of clean lead, and melt it with an equal weight of j ure tin ; then immediately add | oz. of bismuth, and care¬ fully skim off the dross ; remove the alloy from the lire, and before it grows cold add 5 oz. of mercury, and stir the whole well together ; then put the fluid amalgam into a clean gla>s and it is fit for use. When this amalgam is used for silvering, let it be first strained through a linen rag ; then gently pour some ounces thereof into the globe intended to be silvered ; the alloy should be poured into the globe by means of a paper or glass funnel reaching almost to the bottom of the globe, to prevent its splashing the sides ; the globe should be turned every way, very slowly, to fasten the silvering. 2. Make an alloy of 3 oz. of lead, 2 oz. of tin, and 5 oz. of nsmutli ; put a portion of this alloy into the globe, and expose it to a gentle heat until the compouud is melted ; it melts at 197° Fahr. ; then by turning the globe slowly round an equal coating may be laid on, which, when cold, hardens and firmly adheres. This is one of the cheapest and most durable methods of silver¬ ing glass globes internally. 3. Nitrate of silver, 1 oz. ; distilled water, 1 pint ; strong liquor ammonia, sufficient quantity, added very gradually, to first pre¬ cipitate and then redissolve the silver ; then add honey, ^ oz. Put sufficient quantity of this solution in the globe, and then place the globe in a saucepan of water ; boil it for 10 to 30 min¬ utes, occasionally removing it to see the effect. MISCELLANEOUS. ANOTHER DIPPING BATH. 1. Take \ lb. of cyanide of potassium and £ oz. of nitrate of silver ; dissolve all the cyanide in 16 oz. of distilled or boiled water, and the silver in a similar quantity in another vessel. Into r the vessel containing the silver throw a spoonful of common salt ; stir this up well with a clean piece of wood and let it settle ; dissolve some salt in water, and after the silver solution is settled mix a few drops of the salt water in it. If there is any cloudi¬ ness formed it proves that all the silver is not thrown down, and more salt must be added, and then stir and allow to settle. If the addition of salt and water has no effect, the wrater may bf decanted off. carefully preserving the white deposit. Now pour some boiling water on this deposit ; let it settle, and pour off as before. Do this at least three times ; pour off as dry as possi¬ ble, and add about a pint of clean water, and then by | oz. at a TOO THE GILDER’S MANUAL. time, the cyanide solution, till all the white precipitate is dii solved ; add enough water to make half a gallon. Stir well aftei each addition of cyanide solution. If on dipping the article, which must be well cleaned with brick-dust and water, into this solution the silver deposits on im¬ mediately and in a dark powder, it must be weakened by adding more water ; if it coats slowly, more white precipitate must be prepared, washed, and added to it. This must also be done when the solution is getting short of silver. It works best at about GO or 70 degrees of heat ; a dry, warm room suits the ope¬ ration. Brass and copper only can be silvered ; other metals require a battery. This method gives a beautiful result when the work is polished and burnished. 2. Clean the articles thoroughly, and then immerse them for a few seconds in a solution of cyanide of silver, which will plate them without any further trouble. SILVERING FOR BAROMETER AND THERMOMETER SCALES. Take \ oz. of nitrate of silver ; dissolve in half a teacupful of cold water; add| lb. of cream of tartar, with 1^ lb. of common salt, beaten or ground fine. Mix and stir well together, adding water until it attains the consistence of a thick paste. Now lay the scale on a board, the brass or copper being previously wel cleaned and castoff from fine sand-paper; rub the silvering on with your hand until it attains the appearance of silver, which will be a minute or so ; now take the work off the board and rub a little wet whiting over it, wash out in clean cold water, and dry in saw-dust. If varnished with a thin coat of white hard var¬ nish, reduced in spirits of wine, this will last for years. The above quantity of silvering used with care will silver six dozen brewers’ thermometers, 14 inches long. OXIDIZING SILVER ARTICLES. Oxidize silver-plated articles by dissolving sulphate of copper, 2 dwts. ; nitrate of potash, 1 dwt. ; and muriate of ammonia, 2 dwts. ; in a little acetic acid. Apply with a camel-hair pencil ; but warm the article first, and expose the article to the fumes of sulphur in a closed box ; the parts not to be colored must be coated with wax. SILVERING POWDER. Take 40 grains of silver dust ; cream of tartar, 3 drains ; com¬ mon salt, 2 ; and 40 grains of powder of alum. Polish silver articles with this powder and a soft leather. 101 THE OILDEE’3 MANUAL. SILVERING rOWDER FOR COATING COrPER. Nitrate of silver, 30 grains ; common salt, 20 ; cream of tartar, fty drams. Mi*, moisten with water, and apply. SILVERING CAST IRON. Fifteen grammes of nitrate of silver are dissolved in 250 gram¬ mes of water, and 30 grammes of cyanide of potassium are added ; ^Len the solution is complete, the liquid is poured into 750 gram¬ mes of water, in which 15 grammes of common salt have been previously dissolved. The cast iron intended to be silvered by this solution should, after having been well cleaned, be placed for a few minutes in a bath of nitric acid of 1.2 sp. gr., just previous to being placed in the silvering fluid. PLATING PASTES. 1. Nitrate of silver, 1 part ; common salt, 1 ; cream of tartar, 7 ; powder and mix. 2. Nitrate of silver, 1 part ; cyanide of potassium, 3. Both are applied by wetting with a little water and rubbing on the article to be plated, which must be quite clean. Plating done by the above will be very thin, but it will be silver. 3. Get a glazed earthen vessel, put in 1 oz. of nitric acid, place it on a slow fire, it will boil instantly, and then throw in some pieces of real silver ; this will be dissolved at once. As soon as dissolved, throw in a good handful of common salt to kill the acid, then make into a paste with common whiting. The article required to be silvered to be cleaned from grease and dirt, and the paste to be applied with a little water and wash-leather. This paste will keep for years. TO SEPARATE SILVER FROM COPPER. Mix sulphuric acid, 1 part ; nitric acid, 1 ; water, 1 ; boil the metal in the mixture till it is dissolved, and throw in a little salt to cause the silver to subside. TO BRIGHTEN TARNISITED JEWELRY. First wash the articles in this cleansing solution -Liquor potas5C, 1 fluid oz. ; water, 20 fluid oz. ; mix. Rinse them in cold or warm water, and then immerse them in the following gilders' pickle ; — Common salt, 1 part ; alum, 1 ; saltpeter, 2 ; water, 3 or 4 ; mix. Let them remain, stirring them now and then, until the surfaces assume a bright golden appearance. Five minutes at most "will suffice, less time is generally required. Wash them again in cold or warm water, and dry them with chamois leather In hot boxwood saw-dust. 102 THE GILDER’S MANUAL. FROSTED SILVER. Dip the article in a solution of nitric acid and water, half and half, for a few minutes, then wash well in clean water and dry in hot saw -dust. When thoroughly dry brush the saw -dust away with a soft brush, and burnish the parts required to be bright. SILVERING CLOCK DIALS. Rub the dial with a mixture of chloride of silver, tartar, and sea-salt, and afterwards rub off the saline matter with water. This silvering is not durable, but it may be improved by heating the article, and repeating the operation, once, or oftener if thought neccsoary. DESILVERING. The following is a liquid which will dissolve silver without at¬ tacking copper, brass, or German silver, so as to remove the sil ver from silvered objects, plated ware, &c. It is a mixture of 1 part of nitric acid with G parts sulphuric, heated in a wTater-bath to 160° Falir., at which temperature it operates best. HARD-SOLDER PLATING. Sheet silver is forced into a die, similar in shape to the article It is destined to cover, but of course only of one side jx »t ; it is, therefore, necessary to repeat the process in order tc produce a shell to fit the other side. Next, cut the edges of the shells level, and brush over the insides with a solution of water containing borax in excess, which has been boiled fifteen minutes, well stir¬ ring it with the brush every time it is used, and to anneal the shells by holding them over a clear fire until red hot, in the same manner as the sheet of silver was previously ; then after slitting the edges by small scissor cuts about an eighth of an inch long, at intervals of about half an inch, lay the shells aside in a clean place, until the article is prepared to receive them, which is done by first heating it to a dull red heat in order to remove grease or rust ; next carefully file the part on which the silver is to be fixed, using a medium cut file called a bastard, rubbing it occasionally with a piece of borax, and taking care not to handle the article with the fingers where filed, but to use pincers or tongs to shift it when required. Now, with the sharp point of a clean knife, carefully remove any granules of calcined borax found ad¬ hering to the inside of the shells, using the most extreme caution on this and on all other occasions to handle them on the outside only ; and after lightly brushing the outside, to remove any dust the gilder’s manual. 103 which may possibly be deposited there, adjust them on the article (which should be first rubbed with borax all over) allowing the edges of one shell to slightly overlap the edges of the other ; and, supposing it to be a kidney link belonging to harness hanies we are hard soldering, cramp them on about every two inches with very tine soft iron wire, about 24 or 23 gauge ; next wind loosely- twisted twine, about five or six strands thick, very tightly ovei all, putting the winds very close together, in fact it would be better if they overlapped each other a little ; next fix in the vise a small lmrd-wood block, and, holding the work on this, thoroughly beat it all over, turning it about frequently, so that every part may be equally beaten ; the tool used for this purpose is called a madge, and is a lead hammer about three pounds in weight, with the face covered with six or seven thicknesses of stout woolen ; the object of this beating is to cause the silver shells to grip the article very closely. The solder, which is sup¬ plied to the operative in thin sheets, must now be well scoured with emery cloth, brushed over with the borax solution, and annealed in the same manner as the silver sheets ; cut it into strips rather less than an eighth of an inch wide, and bind it into the work all along those parts where the edges of the shells meet, by winding over with fine iron wire the same size, or a little finer, 'ban that used tor the cramping ; take the cramps off one by one as the winding progress. When adjusting the solder on ready for binding, take notice to lay it on the shell that has its edge over¬ lapped with the other shell, and, in afterward putting the work into the fire, let it be in such a manner that what we may call the underlapping shell is uppermost in the fire. Next heat the wrork rather hotter than the hand can bear, and thoroughly brush it over with the borax solution ; the heat imme¬ diately dries out the water, and leaves it covered with a thin stratum of borax, but, as we do not require the borax all over, take a dry hard brush and brush off a portion of it, leaving it only on the overlapping shell edges and solder. It will be seen from the foregoing that it is essential that the silver should lie as closely to the work as possible, and that ex¬ treme care should be taken to keep the metals mechanically, and by means of borax chemically, cl. an, and free from films of air or oxide, which would prevent the junction of the metals by the firing process, which next follows, being sound and good. T. e first must be clear and bright, and be composed of coke or charcoal in pieces of a uniform size ; this precaution is most essential, as a regular heat cannot be otherwise insured. Place the work in the fire, heap some firing lightly and carefully on the top of it, and bring it to a good red heat as possible by blowing 104 THE GILDER’S MANUAL. with bellows, taking extreme care to heat it equally all o*er, in order that all the solder may melt and flow equally at the time ; continue the heat for a few moments after the solder has flowed, then, taking the work from the fire, allow the solder to set, that is, to solidify, and quickly unwind the wire from off it, while it is still hot, otherwise the wire will be difficult to get off ; a coat¬ ing of excessively hard fused borax will now be found adhering to the outside of the article, which can be removed by immersion in a strong solution of muriatic acid and water. The article, if a small one, is now virtually hard-solder plated, the remaining pro¬ cesses being simply to test the soundness, that is, the perfect ad¬ hesiveness of the silver coating, and the polishing off ; but if a large one, such as we are supposed to be plating, it is done in two portions, called by the workmen first end and last end, respective¬ ly, experience having shown that this method is most conducive to success — in fact, kidney links must of necessity be done so, the first end being done before the link is welded into the hame, and the last end afterward. Pole chains also have to be plated in separate links, one-half of a link only being done at one time, and, as they usually contain about thirty links, it follows that the whole process has to be repeated some sixty times for one pole chain, thus explaining why hard -solder plating pole chains is such a long and expensive job. Solder used in liard-solder silvef plating usually contains about 7 parts of silver to 3 of brass The processes now being described assume that silver is the metal used to plate with, but they apply equally to other metals suitable for hard solder work, such as German silver and brass. A composite metal, termed gold-colored or gilding metal is occa¬ sionally hard soldered with, but it is very refractory in the work ing, as the proportion of alluminum it contains, although very small, renders it extremely hard and springy when rolled into sheets. Gold is rarely hard soldered with, mercurial gilding answering the same purpose. The work having remained in the solution some 15 or -0 min¬ utes, we now take it out, remove the borax, and dry it, and the next process tells if the former ones have been skillfully and cleanlily performed ; this is the hammering, and to execute it, take a small iron block about an inch square, by four or five inches long, fix it in the vise, and after lightly filing off the small projecting pieces of silver or solder, of which a few almost invariably occur in the firing, give the work a rub or two with emery cloth, and, laying it on the block, hammer it all over, with a flat-faced blight steel hammer, about six or eight ounces in weight ; this levels and hardens the silver, und shows if it is •oundly fixed, because the moment an unsound place is struck 105 THE GILDER’S MANUAL. mritli the hammer it rises up in a blister. Then comes a most i roublesome and delicate job, for the blister must be filed off, and i i patch put on in place of it, and when the work is fired a sec¬ ond time it is apt to rise (as the the technical term goes) in other olaces, and so the unskillful or unlucky workman has got into a mess from which he is fortunate if he escapes without sacrific¬ ing all his previous labor and materials. However, we have sue* cessfully surmounted all our difficulties, and find our work turn out sound, so will now take a smooth file and smooth the silver ill over, and afterward rub it well with emery cloth to prepare it for the final polishing processes, which are effected by prepar¬ ing finely-powdered pumice-stone, by mixing it with animal oil in such proportions that when squeezed in the hand it will be of just sufficient consistence to hold together ; next take a strip of buff leather, about an inch wide by a foot long, and glue or nail it tightly on a strip of wood about three-quarters of an inch thick, in such a manner that the buff leather projects an eighth of an inch over the edge of the wood — this is technically called a buff ; take a pinch of the prepared pumice, spread it on the buff, and rub the work with it all over, repeating the operation until all the file or other marks are rubbed out of it ; next, use a strip of woolen material moistened with a mixture of oil and powdered rotten-stone, using with all these three concluding pro cesses a large quantity of what our forefathers termed elbo\* grease ; and now we have produced a sound and workman-lik% piece of hard-solder silver plating. SOFT-SOLDER PLATING. Hard-solder plating is preferred where there is very much weal and knocking about of the plated object. Soft-solder, or Close Plating, as it is generally called, answers very well for inside or top work — where there is little wear and few blows. It is called close plating probably because it is not liable to blistering during process but adheres easily and completely to the metal base. The following is the process : The article being filed clean and smooth, and polished with emery cloth, is next well tinned by being dipped in a melted mixture of lead one part, and tin three parts. Give the objects tinned a smart jerk when lifted so as to leave an even coating of tin all over it, then lay the sheet silver upon the object, and giv¬ ing it a blow with the “ madge” obtain the shape of the object or the shape of the half of it to be plated at one time. Cut out the silver foil to the shape and then with a well-tinned copper bit rub the silver upon the object to be plated, beginning gently- holding the object and silver in a ^air of tonga. The solder (tin THE GILDER'S MANUAL. revering the object) melts and holds the silver. The copper bit eiu>4 be skillfully urged over the whole surface until the work is finished. If a blister rises cut it across (not out) let out the air and rcsolder with the bit and burnish it down. German silver and brass foil can be plated upon iron as well as silver by this process. The finishing is done in the same way as in hard-sol- dei plating. Solder-plating of cither kind is more lasting than that in which the foil is merely rubbed on a hot foundation of met&L PICTURE FRAMING AND General Information for Picture Dealers. It is oftentimes the case that both frames and oil paintings are left with the gilder to renovate, and it is highly important that ho should be informed as to the best methods in use for cleaning, re mounting, varnishing, &c., and also to know some of t^e best receipts used in the various processes. It may be as well to cau¬ tion the inexperienced, not to attempt too much, as an error in judgment, or careless manipulation, may entirely ruin a valuable picture, and those who wish to undertake the restoration of oil paintings must, in the first place, be careful , and then try some of the most simple processes, before trying those which even tax the skill of the experienced. The cleaning and restoration of paintings is usually paid for most liberally, und to the man of business, this chapter will be worth gold and silver, while the amateur who wishes to try his on one of his own pictures, will be delighted with his success, if he possesses the skill and judgment to follow the instructions laid down. Oil paintings come to hand for restoration, in almost every stage of decay ; and where a valuable work of art has been neg¬ lected, with the canvass rotten, or worm eaten, or where the body of paint has parted from the canvass, or where the picture is cracked badly, and pieces of the picture fell away ; it requires thought, judgment, and a careful and skillful man to treat these 107 THE GILDER’S MANUAL. works of art, so that succeeding generations may be delighted with their beauty. We will begin by describing some of the more simple processes, in cleaning, repairing, varnishing, &c. CLEANING. Sometimes a painting simply requires cleaning, when a soft sponge used with soap and soft water, will accomplish all that is required. Cleaning Varnished Pictures.— There are conditions where the above simple process will not accomplish what is required ; whe.e a thick coat ng of varnish has been applied to the picture and h has been hung in a smoky room, and dust and dirt has been allowe. ( to gather and remain ; then it is that no high lights will be visil le, the sky will be dirty, no distance visible, and perhaps the figures in the foreground, but very indistinct. Under Jiese conditions the varnish must be either removed or the smoke and dirt musi be brought out of the varnish. If it is thought desira¬ ble to try the latter, the following receipt will be found valuable for the purpose : — 2 oz. wood naptha, 1 oz. muriatic acid, \ pint of linseed oil. Mix the above well together, and before using shake the bottle. It can be used as follows : — Get some soft linen rags, and make up a soft pad, winch place on the mouth of the bottle and shake up some of the mixture into the pad, then commence rubbing the picture with a circular motion, and when nearly dry give the pad another dressing of mixture, and continue this mode of pro¬ cedure for some time, when the picture will gradually come out in al.1 its detail. Removing the varnish requires care that the picture is not damaged, and must be watched as you proceed, as follows:- With the third finger of the right hand commence rubbing the varnish in a circular form, when it will be found (if the picture has b«mi varnished with the right kind of varnish) that a fine dust or powT- der begins to come oii the picture, and will continue to rub oil till the whole of the varnished surface has disappeared, and the surface of the picture can then be sponged. LINING. Old pictures in time require lining when the canvas is rotten, torn, or damaged, and if not repaired rapidly go to decay. A new stretcher and canvas is usually prepared the size required, when the picture is carefully cut from the old stretcher, and with thin glue (not too hot) cover the back of the picture, and lay it down on the new corners, taking care to lay it ut first in its proper 108 THE GILDER*8 MANUAL. place, as it would be impossible to raise it again without damage. The picture must not lie in the glue too long. BLISTERED PAINTINGS. Oftentimes in old paintings the paint will become disengaged from the priming of the canvas through damp and other causes in blisters, and if not seen to is liable to get broken out of the picture. A successful method employed has been to puncture the blister with a pin in numerous holes, and then rub in some good paste carefully, and when enough of the paste has been in¬ troduced the surface is scraped clean, and rubbed over with an oil rag moistened with linseed oil. Cover the part with a white sheet of paper, and pass over the spot a flat iron, not too hot, when it will be found the detached part will be firmly adhering 10 the canvas. TO SMOOTH A DAMAGED PICTURE. Paintings sometimes get convex and concave patches on their surface, owing to pressure on one side or the other, and these Inequalities cause a great deal of trouble to bring out. The most successful way is to well wet the picture both sides on the spot, and keep it under pressure till dry. With small pictures the quickest way would be to take them off the stretcher and lay them in a press, with a light pressure between soft sheets of paper. VARNISHING. Care should be taken that the best mastic varnish only should be used, and laid on with a flat ground hog’s hair tool in tin. Pour on the center of the picture a supply of varnish, and com¬ mence at one edge and work over to the other side, and then re¬ peat this operation from the other edges, so as to cross the var¬ nish and get it laid evenly. FIELDING ON RESTORATION OF OLD PAINTINGS. The usual commencement is with soft water and common yel¬ low soap, with soft soap and water, or with ox-gall and water ; the latter being stronger than soaps. When these have been well applied with a very soft sponge containing not the least parti¬ cle of grit or sand, the picture is to be washed with clean water, and made perfectly dry with old linen cloth or silk handker¬ chiefs, the latter are preferable. In using the ox-gall the best method would be to lay it on the picture (which is to be placed horizontally) with a brush, and when the first layer is dry add another afterward, allowing the gall to remain on the picture for THE GILDER’S MANUAL. 109 two or three days ; then with a sponge and a plentiful supply of clean water, it will be perceived that a considerable quantity of various impurities have attached themselves to the gall, and are removed at the same time with it, leaving the picture so consid¬ erably improved in appearance as sometimes to require little or nothing more. Before much water is used in the first stages of , picture cleaning, the state of the pointing must be considered, for if the color be much broken up, or cracked over the whole sur¬ face, it might be rather dangerous to apply much water in the first instance. In cases of this kind we recommend that the back of the picture be well saturated with copal varnish by sev¬ eral applications with a strong brush previous to its being lined. This will in a great measure assist in attaching the ground od which the picture has been painted to the cloth, and perhaps en¬ tirely prevent the tendency that grounds much broken into have to leave the cloth ; yet, when all has been done that can be, by varnishing the back, it will be still necessary to use no more water than is absolutely necessaiy, unless well assured that no size or glue has been used in the composition of the ground. If more be necessary after these washings, as the removal of the varnish, &c., use a little smart friction with the finger, dipped previously into a box of impalpable pumice-stone powders ; this will ascertain by the peculiar smell produced whether the varnish that has been used be mastic or not. If it be mastic, it may by a continuance of the same process, be rubbed olf all the delicate parts of the picture without much risk of taking up the colors, as the varnish rises under the finger in the form of a white pow¬ der, which ceases to rise after the whole has been taken off. We must add, that after the varnish has begun to come off freely in powd's-, no more pumice-powdei need be used. TO REMOVE VARNISHES. J In removing varnishes of a recent date, pumice-stone powdei may be employed, and a very soft and fine bottle cork will save the fingers, but nothing will answer so well as the finger on the more delicate tints, for the removal of a strong varnish, as copal, &c., a mixture of spirit of wine and spirit of turpentine will be required. To make these two spirits unite, a small quantity ol salt of tartar (tartrate of potassa) is to be added. Every time this is used the bottle is to be well shaken, very little poured on the picture, and rubbed on with a small piece of flannel ; then lay on the part rubbed a few drops of olive oil to retard the action of the spirits. These operations are to be repeated over the whole pic¬ ture, frequently changing the pieces of fiannel, and as frequently applying the olive oil in order to see what progress has been 110 THE GILDER’S MANUAL. made. The picture, lastly, is to be washed with a sponge, soap, and water, afterward with clean water, and then covered with a fresh varnish. If any stains should be found on the picture so unconquerable as to remain after the above process, a little oil of spike lavander will certainly remove them ; but the greatest care must be taken in using this essential oil ; it softens old paint so quickly that there is scarcely time to apply it and the olive oil before it has gone too far ; it is better to reduce its strength with spirits of turpentine if it should happen to be too genuine. Many use lancets and small scrapers, but this operation has also its risks from scratches, &c. Another Method. — Soluble varnishes (as sugar, glue, gum- arabic, honey, isinglass, and white of egg) and dirt generally may be removed with hot water. To ascertain whether the painting be coated or varnished with such materials, moisten some part with water and try if it is clammy to the touch. To clean the picture, lay it horizontally upon a table or some convenient stand, and go over the surface with a sponge dipped in boiling water, the process to be continued till the coating begins to soften, when the heat must be gradually lowered as the varnish is removed. If, however, the coating stubbornly adheres, gentle friction with stale bread crumbs, a damp linen cloth, or the end of the forefin¬ ger, will generally effect the object or assist in doing so. White of egg, if not coagulated, may be removed by heat, by using an excess of albumen and cold water; but if coaugulated, by employ¬ ing a weak solution of a caustic alkali, as potash. Coated dirt is removed by washing with warm water, then covering with spirit of wine, renewed for ten minutes, and washing off with water without rubbing. Spots or stains should be washed with water, dried with soft linen rags, and covered with olive oil, warmed ; after the oil has remained on for twenty minutes, gentle friction with the finger should be used, the foul oil wiped off, and fresh oil laid on until the spots disappear. Should this fail, spirits of wine, essence of lemon, or oil of turpentine, may be carefully ap¬ plied, observing that the stained parts only are to be covered. These applications should be cleaned off, first with wTater, then with olive oil. Sometimes even these means fail ; in such cases strong soap suds should be applied to the spots and retained there until they disappear. The parts must then be washed with water. To restore an oil painting, clean the decajred picture thoroughly, and spread it, face downward, upon a smooth table ; wrell moisten the back with boiling water, and when the canvas is sufficiently moistened, turn the picture face upward, stretch it tightly and nail it down to the table all round the edges. Then cover the painting with very hot strong glue, and over this, nearly all round THE GILDER’S MANUAL. Ill the border, linen cloth, somewhat worn, of the same size as the picture. The picture should then be exposed to the sun to dry as quickly as possible. When dry detach it from the table, and nail it down again face downward. Then place a slightly raised border of wax all round the edges, and placing the table on a per¬ fect level, pour over the picture a mixture of nitric acid and water. Care must be taken that this mixture be not too strong . this is ascertained by dipping the finger in it, and if the finger does not turn yellow immediately, the mixture is in due propor¬ tion. Suffer this fluid to remain upon the canvas till the tex¬ ture is quite dissolved and the thread rotted ; then pour it off, and detach the threads of the canvas with a spatula ; thus, the crust of the painting will alone remain glued face downward to the linen cloth before mentioned. Then wash the crust with pure water, wipe it with a fine sponge and leave it to dry. When dry, cover it with glue, mixed with a little spirits of wine, coat a piece of new canvas about the size of the picture with this, and spread it smoothly, and press it upon the back of the picture. The pressure may be accelerated with plates of lead or marble slabs, these being cleaned from time to time of any particles of glue that may adhere to them. All that now remains to be done is to re¬ move the linen cloth and glue from the face of the painting. As soon, therefore, as the last glueing is dry, detach the whole from the table, and turn the linen cloth up and moisten it with the mixture of aquafortis and water ; by this means its texture will soon be destroyed, and may be broken away, the glue being re¬ moved with hot water. The painting will then be transferred perfect and entire to a new canvas. When the painting is on wood the wood must be pared until it be very thin, and the mixture of aquafortis and water being poured upon the remaining portion, will speedily dissolve its texture, and render the picture easy of removal. This is a delicate process and requires great care and experience. TORN CANVAS. A torn canvas may be repaired by cutting a suitable sized piece of close canvas, and dipping it into melted wax, applying it hot at the back of the picture to be repaired. The torn part must be carefully brought together and smoothed down. As the wax chills the canvas adheres firmly, and the superfluous wax at the back and front of the picture must be taken off. When dry fill up the interstices with compo used by gilders, and it will be found that the paint will adhere readily. It is not expected that any of the foregoing methods will restore the colors of old pictures, for in course of time the colors gradu- 112 THE GILDER’S MANUAL. ally become darker ; the flesh tints particularly take a reddish yellow color, by which the truth of the picture is very much in jured. The fault is in the oil with which the colors are made, for all kinds of oil become yellow in time. Nut oil is most com. monly made use of, with which the colors are dissolved and ground, and which is drying in its nature. Alkali of any kind should be cautiously applied, such as soap, pearlash, soda, if the picture is not varnished • but in experi¬ enced hands spirits of wine, oil of turpentine may be us: d to take* out dirt or stains in the subject. Unvarnished pictures must not lie under treatment too long, or they will be liable to come up from the canvas. TOOLS REQUIRED. The tools required by the picture frame maker may soon be enumerated. Miter Block. — This block is made to guide the saw in cutting np mouldings. It consists of a thick piece of wood glued in a food bottom, with saw cuts in it at an angle of 45 degrees, so that the moulding, when cut off, will form a square frame. Eighteen inches long will be found a convenient length. (See fig. 7.) Miter boxes, may be purchased of dealers in carpenter’s tools of differ¬ ent sizes. Langdon’s being favorably known to the trade. Shooting Board - This board is made with a ledge, screwed on at an angle of 45 degrees, and a flat run for the plane laid on its side. The use of the shooting board is to “shoot” or plane the ends of the mouldings to bring the miters close together. (See fig. 8, page 113.) Shooting Planes. — Planes about 15 inches long, and the width 3£, without handles, the plane iron without a guard, used for snooting the ends of the moldings on the shooting board. Smoothing and other planes are sometimes required. Saws. — Those used for cutting up moldings are called tenon or back saws, and are supported at the back by a piece of bras* or iron to prevent the thin blade of the saw from bemjing. THIS GILDER’S MANUAL. 113 Hammers, various sizes, and not too heavy. Chisels, different widths ; Bradawls and Gimlets , various sizes. Screwdrivers, large and small. In addition to which a few small tools, such as pincers, scis* sors, punches, squares, &c. There must also be cut brads, from | to 3 inches long, picture rings of all sizes, nails, screws, &c. There is also a useful imple¬ ment known as the Banks & Seger clamp, for clamping the frame while the corners are being secured. It is a useful and not costly implement, and is sold by dealers in tools. Glue is also used, and as its strength is dependent upon quality, we will give a little information upon the subject, as the strength of the work is only secured by a good article. In applying glue, the hotter the glue the more force it will exert in keeping the united parts together ; it should, therefore, be applied immediately after boiling. Glue loses much of its strength by frequent re-melting. Glue should be purchased in dry weather, for that which is then soft is not of so good a quality as that which is crisp. The most transparent is the best. Good glue, if immersed in water for two or three days will not dissolve, but swell ; if of inferior quality it will partly or wholly dissolve. Again, that glue is the best which, being dissolved in water by heat, may be drawn into the thinest filament, and does not drop from the brush as oil or water, but when falling extends itself into threads. Glue made from the skin of old animals is much stronger than that of young ones. PASTE. Mix one tablespoonful of wheat flour with half a pint of cold water, adding the latter gradually, and thoroughly stirring in each portion before pouring in more, place the vessel over the fire and stir the whole assiduously until it boils ; great care should be taken to prevent caking or burning on the bottoni. 114 THE GILDER' S MANUAL. An addition of half a teaspoonful of powdered alum will strengthen the product. The addition of a few grains of corro sive sublimate, or a few drops of creosote, will prevent it from turning mouldy and preserve it for years. When too hard or dry it may be softened by beating up with a little hot water. MITERING PICTURE FRAMES. Tn order to get instruction in the art of making picture frames, we will go into a shop where the frames are mitered together, fitted up, and turned out to be hung in cottage or mansion, and where all the frames from the gilder’s shop adjoining come to be bitted up and completed. As we see two or three very busily en¬ gaged in various occcupations, we will not interupt them for the present, but take a critical survey of the shop. It is lighted by windows on two sides, and a stout wide bench runs under the windows round two sides of the room. At certain distances we see bench vises fastened, at some of which we see men busily at work. Down the middle of the shop is another wide bench, and on it we see rolls of engravings, and some are fitted into frames. At the end of the room is a small circular saw driven by the foot, and on the opposite side of the shop a good stock of moldings are arranged on bars let into the wall. We see four or five sizes and qualities of O. G. maple, a variety of patterns of inside slipping, beads, Ac., in German moldings, and a good stock of moldings in the white ready to be joined before going to the gilder ; also gold moldings packed in white paper. In a room adjoining this shop a man is seen busily employed packing a lot of pictures in cases ready to be sent out. The oc¬ cupations of the men are various, and a division of labor seems to be the order of the day, as we see one actively employed in joining a large lot of maple frames with a large number down by his side ; another is “shooting” the moulding, while a third is cutting up mouldings. But we see a man in the center of the shop looking over a book, and as he has a good natured open countenance we will draw near and see what he will say to us in answer to inquiries as to what his occupation generally is. He informs us that he is constantly employed in “fitting up ” all the best of the miscellaneous work, and that in consequence of his work requiring great care he does not get through so much. He fits up the gold frames finished in the gilder’s shop with expens¬ ive chromos, proof engraving, oleographs, and oil paintings ; he also fits up the best work in water-color drawings, and is trusted with proofs and pictures to mount. He informed us that he was called a “ fitter-up,” and that it was not his work to make frames, although he might be able to THE GILDER’S MANUAL. 115 do it, and as he had satisfied himself as to the work in hand, he was about to hand the book over to a man in another room who did “mitering-up,” and he offered to show us the way. Our friend, the “fitter-up,” not aware we had been engaged for a number of years in gilding and in a fine art repository, so treated us to a sight of some of the best chromos he was fitting up, little thinking they were old acquaintances, and that we had times before taken a pride in turning them out as he would do — first class. We were received by the man about to execute the orders in the book, with civility, and as we stayed with him some time we will describe the execution of the work required. As “Frith’s Derby Day,” was wanted at once, he set to work to cut out out the best O. O. G. maple, with a broad gold flat and hollow inside and the picture mounted on a stretcher. The sight- edge of the inside gold, to allow of the requsite margin, must be 57| by 29, and unpapering some broad gold, flat and hollow, he carefully cut out on the saw block four pieces a little longer than the required length to allow of “shooting.” He next selected some of the best maple, O. O. G., and cut one end off on the saw block to the required angle. He next took one of the pieces of gold flat and hollow, and placed it on the rabbet of the maple, and marked the length a little beyond the gold flat, and cut of the length. This he did with the three other sides. The “shooting board” was next required, when he placed the first maple in position, and with his plane, which had a good edge, took off enough to secure a good surface, and in the next place a clean top edge to the moldings. The next piece selected for the same ope¬ ration was the piece corresponding in length, and after planing to his satisfaction, he measured the two pieces by putting the two sight edges together and making them exactly of a length. Before shooting the gold flat and hollow, he said he should put the maple together so that he could more easily make the miters in both to run straight, Taking the four pieces of molding, he went to the bench vise and fastened^ one of the long pieces therein with the rabbet out¬ side, and the right hand very near the jaws of the vise. He next took up one of the short lengths on the left hand, and placed the two ends together. The two pieces were not placed exactly to¬ gether, but the piece in the left hand was brought back from the sight edge about one-twentieth of an inch- When he had sat¬ isfied himself as to the exact position, holding the two tightly to¬ gether, he, with a bradawl, decisively made a hole longenoughto go into the molding in the vise. When this was done he enlarged the hole in the piece he held 116 THE GILDER’S MANUAL. by a gimlet, so that the size cut brads would drive easily through it without much friction or danger of splitting the wood. A little thin glue was then applied and the molding placed together as before, holding it very tightly together, when a brad of the re¬ quisite length, about 2^ inches long, was inserted and driven home. In driving home the brad the molding held by the hand was found to have moved forward a very little by the force of the blows, and thus a capital miter was made ; a second brad was then driven home and both punched below the surface. Had the brad been driven home with the moldings exactly level this would not have been the case. The other two pieces were then joined in the same way. Two miters having been made, two more remained to be put together. He then took one-half of the frame and fastened it in the vice near one of the unmitered ends, and with the assistance of a lad on the other side of the bench he brought the two joined pieces together in their proper places, and with the bradawl and gimlet made the hole as above described ; he then took the half Fig. 9. — Fitting the Frame Together. out of the vice and put in the other half in the same way and made the hole in the fourth miter. He next glued the two ends of the piece out of the vice, and with the help of the lad brought the two halves together, and quickly and steadily drove home the brad. The frame was then taken out of the vise, and the other miter attended to in the same way and a second brad inserted, and the two punched below the surface. The frame was aga;a THE GILDER’8 MANUAL. 11? put in the vice for the third miter to have a second brad driven in, when both was punched below the surface, and the frame was iound to be well and neatly put together. Rather thin glue was used, and he was careful not to put too much on, so that it woul'? appear on the top of the miters. Sometimes with O. G. maple the lengths are found to be warp ed, and when cut into the required lengths by the picture framt makei and made up, the frame is found to be twisted and th€ miters bad. Moldings should be kept flat before they are used. Having so far completed the maple frame, he at once proceeded to miter up the inside gold flat. Before taking it in hand he put on his left hand a glove made of chamois leather, explaining at the same time that in shooting and mitering up gold moldings, some of which were gilt down to the back edge, it was necessary ,o protect the gold from the heat of the hand, as inattention to this would be sure to damage a frame which was expected to be turned out in the best manner. He said also that a piece of soft cloth was glued down on the shooting board to prevent any scratches on the gold, and that he was particular to keep it free !rom shavings and grit. After seeing to his plane-iron, the gold flat was soon ready for inhering, and it was noticeable that he was very particular to get the length of the pieces so that the frame would just take half of the rabbet, and the miters by that means would range exactly. With his left hand still covered by a glove, he handled the mold ing and mitered it up in the same way as before mentioned for the maple frame, and when completed the miters looked like a hair. He next took the rabbet measure of the frame just mitered, and at once proceeded to cut out a stretcher from a large number of lengths of pine cut ready for the purpose. In marking out the stuff for the stretcher he explained that there was no waste as in an ordinary molding, as the length was cut from one side and the other, avoiding the cutting out of the triangular piece necessary to make the miter. He also informed us that he knew it was the fashion in many country shops to make a stretcher by halving it together, but that a mitered stretcher was stronger, more expeditiously made, and was much neater than those made in such a way. He then “shot" the lengths as usual, and soon put them to¬ gether in the vise as before described, not troubling to put any slips into the vise to protect the pieces, and fitted it into its place in the rabbet of the gold flat. The three frames placed one in the other was ready to go in to the fitter up. When gold moldings are mitered down the back edge, it will 118 THE GILDER’S MANUAL. be necessary to lay in the vise some slips of wood covered with cloth to prevent marking the molding. We have described mitering up a large frame, but smaller ones will not require the gimlet to be used before joining, as there is not the danger of the molding splitting where small brads are used. Gilt slipping or inside edging for the inside of the maple, rose¬ wood, oak, or other frames, requires care in mitering up, owing to the thinness of the wood. In mitering sometimes the wood will split, therefore the brads selected must not be too large, and the mitered pieces must be handled tenderly till the glue is dry. Where it is twisted or warped it is almost impossible to make a neat miter, which is often the case with German moldings. MOUNTING PICTURES. A picture badly mounted is oftentimes a source of annoyance to its possessor, and spoils what might be otherwise a good sub¬ ject. A picture of little value, if neatly mounted, really looks superior to one of greater value where little care has bee£ be¬ stowed upon it. Engravings, chromos, photographs, oleographs, each require to be treated in a different manner, and we will describe what should be done to make them look well and preserve them in good con¬ dition for a great length of time. ENGRAVINGS. If it is an ordinary engraving it is best to prepare a stretcher as before recommended, by mitering up, and stretch evenly thereon a piece of muslin by means of tacks round the edge. The tacks should not be too wide apart or the calico will not be so firm. The engraving is laid on the bench face uppermost, and the edge of the stretcher laid across it from edge of the picture, when, with a rule, the width of both margins can be ascertained. By halving this the exact width of margin can be seen, and marking the picture in two places on each side a straight edge can be used and a line drawn where the picture must be cut. The margin on the top and bottom of the engraving can be easily decided, as the top must be measured oil the same width as the sides, and the bottom can be marked by putting the edge of the stretcher on the top line and marking the picture by the other edge of the stretcher. The engraving when cut, is just the size of the stretcher. On a good smooth surface, sheets of clean paper should be laid, and the engraving turned over on its face. With a clean THE GILDER'S MANUAL. 119 sponge and water go over the back of the picture till it has ab sorbed almost as much water as it will take, when, after lying in the water a short time a good coat of paste must be laid on very evenly, taking care that it contains no particles of grit The stretcher must be evenly laid on and well rubbed down by the hand over the muslin at the back of the stretcher. The picture now on the stretcher can be turned up, and with a clean sheet of paper in the left hand laid on the outsides of the picture, rub well down on the stretcher. Should there be any grit under the picture, which will be easily seen by the unevenness of the surface, it would be advisable to pull up the picture from one corner and remove it. If there is any dirt on the margin now is the time to remove it by applying the sponge with clean water, or it will not be removable when dry. Stains must be removed before mounting. The franpn should be ready to receive the stretcher, and it should at once do tacked in and stood up to dry. If not tacked into the frame the stretcher will twist with the drying of the picture, which tacking in the frame prevents. Should the engraving be on India paper it will not be advisa¬ ble to damp it so much nor let it lie in the paste, but proceed as quickly as possible, as the India paper sometimes comes up, when it is a difficult matter to lay it again properly. Many other pictures are mounted in the same manner as before mentioned, but where it is an old engraving, stained and discol ored, it will be necessary to clean it before mounting. Where gilt slipping is laid in a maple or other wood frame, the stretcher may be omitted by mounting the picture on the inside slipping in the following manner : — The picture must be well damped with a sponge and clean water. The frame made of slipping must be well glass-papered down, and glued and laid on the picture in its proper place and well rubbed down. When dry it will be found to be well stretched, and the gilt will go under the glass. It should be tacked in the frame to dry, and when fitted up a backboard used. This method is not suitable for large pictures. PROOFS. Sometimes valuable artist proof pictures come into the hand9 of the picture frame maker, with special directions as to their mounting, &c., as many gentlemen are most particular not to allow the fine lines of the engraving to be touched, and on no account to be pasted on the back. When this is the case the proof must be carefully measured up for the stretcher as before mentioned, and marked on the back. 120 THE GILDER^ MANUAL. but not cut. It must then be turned on its face on soft tissue paper, and moderately damped with clean sponge and water. The stretcher, covered with paper, must now be laid on the back of the proof in the place whero it is meant to bo mounted, and the outside edges must be glued and turned over on to the back of the stretcher, and well nibbed down and tacked into tne frame. It will dry, and present a well-stretched picture, and the paper used will prevent the wood of the stretcher from staining a valuable picture, and keep the dust from the back. If it is im¬ portant that the proof should not touch the glass it will be nec¬ essary to have two rabbets to the frame — one for the glass and the other for the picture. PHOTOGRAPHS. Photographs are usually mounted on card-board, and the great fault is that the majority are on thin board, and through bad mounting the picture is pulled out of shape, and it is difficult to fit it upon the frame to present a workman-like appearance. The photograph should first be squared up by cutting the cages with a sharp knife guided by a straight-edge, when it should be put into clean water for an hour or two, and laid between blotting paper for a short time before mounting. Some thin starch should then be made and brushed over the back of the photogragh very evenly, which is then laid on the board so as to give equal margin. After well rubbing down with a sheet of paper it should be laid in a press or under weight to dry. If it is required to mount a picture with cold starch it will be found to roll under the brush, and the fingers of the right hand will best rub on an even coat. Where a cut mount is ordered tiie photograph may be mounted on cardboard a little larger than the picture, placed behind the cut out mount and pasted in its place. WATER COLORS AND CHROMOS. Water colors require careful treatment, as it is not advisable to make them wet by paste, or the colors may be affected. After careful squaring up, the edges should be gone over with thin glue, and laid in its place on the mounting board. If a cut out mount is required it must be placed in front of the mounted water color. Chromo lithographs do not require the care advisable for water colors ; the colors on the picture being oil, will not readily be dis¬ turbed. They may be mounted with thick paste and laid under pressure, and if a cut out mount is necessary the mounted picture must bo pasted in its place at the back of it. The edges of the fron4 card are cut slanting toward the picture, and may be brushed THE GILDER*8 MAtftTAL. 121 with gold size rather thin and real gold powder or gcod bronze put on with good effect. OLEOGRAPHS. Oleographs are pictures printed in oil color to represent oil paintings, and are mounted in the following manner. A stretcher is made the size of the picture with wedges at the corners as oil paintings. It is then covered with a smooth stout canvas or un¬ bleached Holland, when the picture receives a coat of thin glue, the stretcher is laid on the picture and well rubbed down and left to dry. The stretchers should be stouter than ordinary as they require to be strong. After the picture is dry two coats of parch¬ ment size is laid on and then varnished with mastic. These pictures are sometimes mounted as chromos with margin, and many subjects look very well. MAP8. Good muslin or fine canvas must be strained on a smooth clean board by tacks, and the map damped with a clean sponge on its back, and then well pasted, taking care that the edges are weL Baturated. The map must then be laid on the canvas, a sheet of paper on the top, and well rubbed down ; when dry two coats of parchment size must be laid on, and one or two coats of paper varnish. When thoroughly dry the tacks may be taken out and ihe maps squared up with a straight-edge and knife, enough can¬ vas being left on the top and bottom to attach to rollers. The sides are then bound with silk ribbon and the bottom tacked on to a roller, while on the top a moulding is usually secured. Sometimes the roller is cut in half and the map secured between by screws at the back. Where the map is in several sheets they must be carefully joined in mounting, and edges well rubbed down, or the varnish may get under and stain the paper. MARGIN, MOUNTS, PITTING UP, ETC. There has hitherto been no rule for the width of margin on pictures, but it is usual to give a good broad margin to a valua¬ ble work of art, such as water colors, chromos, proof engravings, and even photographs looks best with a good margin. We have seen pictures framed with narrow margins according to the whim of their owner, and it has very much taken away from their ap¬ pearance when framed. Commou pictures or pictures of but lit¬ tle value do not require wide margins, and in measuring up pic lures for framing this should be borne in mind. Engravings with 122 THE GILDER^ MANUAL. India paper are usually measured for a margin beyond, and where there is no India paper the picture is measured for the top and two sides to be equal, and the bottom margin considerably more to allow for the title. The plate mark on the picture sometimes is a guide. Large subjects require broader margins than sma.l ones. Water colors and chromos can be measured up for equal mar gin all round, as also photographs if the margin is wide, but should it be narrow a little deeper margin may be left at the bottom. There is a circumstance which sometimes decides the width of margin at the bottom of the subject, and that is if the picture measures nearly square it is measured up so as to bring the frame a little longer, as many dislike a square frame. MOUNTING BOARDS AND MOUNTS. Mounting and card board may be had almost any size and quality. Mounting boards, technically so called, are commoner than card boards, as they will be found on examination to hare an inferior brown paper for the inside of the board, while the cardboards are white throughout and a whiter and better surface, Cut out mounts are usually made of the latter. Mounts, with or without gold line and bevel, may be had of any size, quality, or pattern. Sizes suitable for photographs are often required. CLEANING ENGRAVINGS. The frame-maker, in receiving orders for frames, is sometimes tequired to clean the engravings before putting them into the frame. Valuable old pictures are often discolored with age, smoke, dirt and dust, so that the title is scarcely legible, and the picture lost in the stained condition of the paper. A method thiit will be effective and still preserve the lines of the engraving perfect, will prove valuable when it is required. The engraving must be laid down on a smooth board, with a clean sheet of paper underneath, and with a clean sponge and water carefully wet the picture on both sides, and then saturate it well with a soft sponge with the following mixture: ^ lb. chloride of lime, 2 oz. oxalic acid, 1 quart of water. The above will be known to be the right strength by its turn¬ ing a magenta color. The application must continue as long as there is any stain to come out, and then sponged freely both sides with clean water. We have cleaned engravings so stained and yellow that the pic¬ ture could scarcely be distinguished. The paper looked an clean THE gilder’s manual. 123 as when it was made, and the engraving stood out brilliant on its new back ground. We must caution those who try this receipt not on any account to use it on water color drawing or prints that have been colored with water color, as in the first instance a clean sheet of paper would be left plain. This receipt will not touch any color that has been mixed with oil, as is the case with the ink the picture is printed with. The above receipt loses its virtue when it has been made some time. FITTING-UP. A picture badly fitted up will get discolored with the air and dust, and will not look so well as if a little more care and time had been spent upon it. When the frame is made and the picture mounted it is ready .'or fitting up, when the glass must be cut, care being taken to select a piece free from defects. Cutting glass is easily accomplished with a little practice, but some of the foreign is brittle, and will sometimes crack across the pane instead of the cut. The modus operandi is as follows . A large pane is placed on the board covered with green baize, md looked over to see there are no defects, when the frame is measured and the the straight-edge is place 1 on the glass, making due allowance for the room the diamond takes up in cutting. A steady cut is given, holding it between the first and second fingers of the right hand, and keeping it inclined toward the arm. Then if it is a long cut on a large piece of glass the best way will be to bring the cut to the edge of the board, and with a steady downward jern of the piece in hand (if the cut has been perfect) the glass will part evenly. With smaller pieces it will part by holding the glass with the finger and thumb of each hand on each side of the cut, and using a little downward force. When the pane has been cut the required size it must be well cleaned both sides with whitening, and fastened into the frame by pasting strips of paper and laying them in so that one half lies on the glass and the other on the side of the rabbet but not to show in front of course. When this is dry it will be firm and no dust can get in. The picture is then cut to the required size, at¬ tention being given that the margin is right all the way round. As this is a matter of some little difficulty to the amateur we will just say it can be quickly done by measuring the inside of the frame and then by putting the rule across the picture you will gee how much the margin on the two sides measure, when by taking one-half and marking it off on the picture and drawing a line across as a guide for cutting, the margin will be found to be 124 THE GILDER’S MANUAL. equal. The picture must be measured in the dame way for the two other margins. When it is cut it will be found to go into the frame exact with the margin correct. If, on measurement, it should be found a little out, a strip cut from the opposite side where the margin is narrow will rectify the error. If it is a medium-sized picture a back-board will fasten it in. Back-boards can be had of any thickness. The back-board is cut to the required size, and if not wide enough is glued up with a piece of the required size, and, when dry, it is planed up and outside edges beveled. Now that the glass is pasted in, the picture cut to the proper size, and the back -board ready, it can be bradded in, but before this is done it will be necessary to see that the glass is quite clean on the inside, that no dust or small particle of wood is between the glass and the picture, and also that the picture is laid in its proper place, when the back can be put in and bradded up. It is advisable to put two or three brads in each side, and then satisfy yourself by inspection that everything is right, or you may have to take out the whole of the brads again to remove a particle of dust or shaving. The picture must now be backed up with brown paper, or nar¬ row slips pasted round the edge of the back. If it is to be backed up with brown paper the sheet must be cut the size required and damped with a wet sponge. The back edge of the frame must be thinly glued and the paper at once strained on. This will strengthen the frame, keep the dust out, and perhaps hide a back-board not very smooth. Strips of colored paper look clean pasted round when a smooth back-board is in the frame. Where stretchers are used they are backed up in both ways, according to fancy. If it is a large picture on mounting board a panneled back-board would be desirable. In fitting up maple and gold frames, the inside gold must bo blocked in tight, and when the gold is ordered under the glass, the glass must first be cut. The stretcher with the mounted pic¬ ture will be bradded in last, and the back papered up. With maple, rosewood, or any French-polished frames, it is necessary to clean them down with a reviver before sending them out, as in handling the molding it becomes dull. Receipts will be found at the end of this volume. OXFORD FRAMES. These frames have become favorites within the last few years. They are made of oak with cross corners and are got up in fancy patterns, some of whieh are finished with ulti amarine on the the gilder’s manual. 125 bevels. They can be had of the wholesale houses of assorted sizes. They should be rubbed over with linseed oil, which will ffive the wood a richer appearance. FRENCH POLISHING AND VARNISHING. Frames made to order, of oak and other wood, require French polishing or varnishing, when it will be convenient to know how to lay on a lasting and brilliant polish. The following precise directions, if followed, will give a satisfactory result. FRENCH POLISHING. The mode of application necessary for French polish differs from that of ordinary varnishes, being effected by rubbing it with a fine cloth upon the surface of the material to be polished and using oil and spirits of wine during the process. In applying it to large surfaces use a rubber formed of aflat coil of thick woolen cloth, such as drugget, &c. , which may be torn off the piece in order that the surface of the rubber, which is made of the torn edge of the cloth, may be soft and pliant, and not hard and stiff as would be the case were it to be cut off, and therefore be liable to scratch the soft surface of the varnish. This rubber is to be se¬ curely bound with thread to prevent it from uncoiling when it is used, and it may vary in its size from one to three inches in diameter and from one to two inches in thicknes, according U the extent of the surface to be varnished. The varnish is to be applied to the middle of the flat face of the rubber by shaking up the bottle containing it against the rubber ; it will absorb a con¬ siderable quantity and will continue to supply it equally and in due proportion to the surface which is undergoing the process of polishing. The face of the rubber must next be covered by a soft linen cloth doubled, the remainder of the cloth being gathered together at the back of the rubber to form a handle to hold it by, and the face of the cloth must be moistened with a little raw lin¬ seed oil applied upon the finger to the middle of it, and the ope¬ ration be commenced by quickly and lightly rubbing the surface of the article to be polished in a constant succession of small cir¬ cular strokes, if a flat surface, but if a molded face a light back and forward stroke without lifting the hand will answer, and the operation must be confined to a space of not more than ten or twelve inches square until such space is finished, when an adjoin¬ ing one may be commenced and united with the first, and so on until the whole surface is covered. The varnish is enclosed by WlQ double fold of cloth, which by absorption, becomes merely 126 THE GILDER’S MANUAL. moistened with it, and the rubbing of each piece must be con tinued until it becomes nearly dry. The rubber may, for a second coat, be wetted with varnish without the oil, and applied as before. A third coat may also be given in the same manner ; then a fourth with a little oil, which must be folio ived as before, with two others without oil ; and thus proceeding until the var¬ nish acquires some thickness, which will be after a few repetitions, find depends on the care that has been taken in finishing the sur- lace. Then a little spirits of wine may be applied to the inside of the rubber after wetting it with the varnish and being covered with the linen as before ; it must be very quickly and uniformly rubbed over every part of the surface ; this tends to make it even, and very much conduces to its polish. The cloth must next be wetted with a little spirits of wine and oil without varnish, and the surface being rubbed over, with the precautions last men¬ tioned, until it is nearly dry, the effect of the operation will be seen, and if it be found that it is not complete the process must be continued, with the introduction of spirits of wine in its turn as directed, until the surface becomes uniformly smooth and beauti¬ fully polished. The work to be polished should be placed oppo¬ site the light in order that the effect of the polishing may be better seen. In this manner a surface from one to eight feet square may be polished, and the process, instead of being limited to the polish ing of rich cabinets or other smaller works, can now be applied to tables and other large pieces of furniture with very great ad¬ vantages over the common method of polishing with wax, oils. &c. In some cases it is considered preferable to rub the wooa over with a little oil applied on a linen cloth before begiuing to polish, but the propriety of this method is very much doubted. When the color of the wood to be polished is dark a harder polish may be made by making the composition of one part of shellac and eight parts of spirits, proceeding as before directed. For work polished by the French-polish, the recesses or carved work, or where the surfaces are not liable to wear, or are difficult to be got at with the rubber, a spirit made without lac, and considerably thicker than that used in the foregoing process, may be applied to those parts with a brush or hair pencil, as is commonly done in other modes of varnishing. French polish is not proper for dining tables nor for anything where it is liable to be partially ex* posed to a considerable heat. STOPPING FOR FRENCH POLISHING. Plaster-of-paris, when made into a creamy paste, with water, proves a most valuable pore-filling material. It is to be rubbed 127 THE GILDER’S MANUAL. by means of a coarse rag across the woody fiber into the holes and pores till they be completely saturated, and then the super¬ fluous stucco on the outside is to be instantly wiped olf. The succeeding processes are technically termed papering, oiling, and embodying. When finely-pounded whiting is mixed with painter’s drying ail, it constitutes another good pore-filler. It is applied in the same manner as the preceding one, and it is recommended on account of its quickly hardening and tenacious virtues as a ce¬ ment ; sometimes white lead is used in lieu of whiting. Before using either of these, or other compositions for the same purpose, it is best to tint them to correspond exactly with the color of the article it is intended to size. Holes and crevices may be well filled up with a cement that is made by melting beeswax in combination with resin and shellac. v AitNisnrx g. Flat camel’s hair or hog’s hair brushes are generally used for varnishing, and usually come varying in width one to four inches. Turned and carved work require small tools to go over the mem¬ bers and sweeps. The best way to preserve them is to rinse them after use in spirits of turpentine, wash in warm soap-suds and hang them up in a dry place where no air is moving. Where the brushes have been neglected they must be soaked in varnish for an hour or two, but if wanted immediately they can be softened in turpentine. For fancy work a good sponge will sometimes be found preferable. The varnish dish should be provided with a closely-fitting lid, and a wire strained across the dish to scrape the brush over when dipped, or too much will be laid on. After dipping, the brush should be passed over the wire, and the first coat may be laid on across the grain of the wood as ^ evenly as possible, but in the finishing the varnish must be laid on with the grain. The tool should be lightly handled and not slowly used, as some varnishes set very quickly. Varnishcrs sometimes make a ground with a rubber full of French polish before the application of the spirit varnish. The rubber must be thoroughly dry before the application of the varnish. The last coat applied should stand some time before receiving the fine varnish. It should be finished off with a damp rubber The Above will give brilliant and lasting work. CHOICE OF IIAIU TOOLS. Hound and flat brushes are used, but the flat are more useful. They should be neatly made and yet very strong, and the hall 128 THE GILDER’S MANUAL. should not be cut at the points, but smooth to the touch. They should also be very elastic, springing back to their shape when in use, and the hair should be silky- looking. There should be no diverging hairs, but their shape should be wedge-like. Polished cedar handles ensure thorough cleaning, and they are more pleas ant to use. Sable tools should come to a firm fine point, and the hair must be of a pale yellow cast. They can be had both flat and round. Badger tools are superior when the hair is light, long, and pliant, in color black with white ends. Instead of coming to a point the hairs diverge. They seldom want cleaning as used by gilders. RULES FOR POLISHING. Work to be dusted before commencing. Every embodying must be allowed a proper time to harden and absorb before re-application of smoothing stuffs or polishes. The rubber must be covered with a clean part of the rag at each wetting. Rubbers must not be worked too long in the same direction, nor heavily laid on when wet, or the work will be streaky. Marks of the rubber may be smoothed by working in an oppo¬ site direction with a rubber nearly dry. Large surfaces should not be gone over all at once. Fine linen makes the best rubber coverings. Cheap cotton will do as well after washing. Carved work that has been finely varnished presents a brilliant appearance after cleaning with an oiled flannel. The only fixed oil used in French polishing is raw linseed oil. Polishing rubbers should be preserved in close tin canisters. Polishing and varnishing should be performed in a room, the ? temperature of which is about 60 degrees Fahrenheit, and it should be free from damp. * The most convenient way of laying matt or burnish gold size on small work is to lay two or three brushfuls on the back of the left hand when it will be found that the brush can be filled and brought to a fine point very quickly, and the size is kept in a workable condition by the heat of the hand. USEFUL, RECEIPTS. Compo. — One pound of glue must be dissolved in one gallon of water. In another kettle boil together ^ lbs. of resin, 1 gill of Venice turpentine, and 1 pint of linseed oil ; mix all together in one kettle, and boil and stir till the water has evaporated. Turn THE gilder’s MANUAL. 120 the whole into a tub of finely rolled whiting, and work it until it is of the consistence of dough. Another Receipt. — Boil 7 lbs. of the best glue in 31 pints ol water. Melt 3 lbs. of white resin in 3 pints of raw linseed oil. When the above have been well boiled put them in a large vessel and simmer them for half an hour, stirring the mixture and taking vire that it does not boil over. The whole must then be turned mto a box of whiting rolled and sifted, and mix till it is of the consistence of dough. Polish Reviver.— Quarter pint of linseed oil, 2 ozs. wood naptha, 1 oz. spirits of salts. Bookbinders’ Varnish. — Quarter pint of methy. spirits, 1 oz. gum juniper, 1 oz. orange shellac. Partially Resilvering. — The silvering must be «t?moved from the injured part, and the glass cleaned thoroughly. A wall of beeswax must be formed round the spot, and nitrate of silver poured on, and the silver precipitated by oil of cloves and spirits of wine. This method is said to be most successful. Brush Polish. — The following receipt must be used warm, and laid on with a brush. If the article to be polished be held to the fire before the application a better polish will be the re¬ sult : 2 ozs. shellac, 2 ozs. white resin, dissolved in one pint of spirits of wine will be found to answer well for carved work or Oxford frames. French Polish Reviver. — Half pint linseed oil, 1 oz. of spirits of camphor, 2 ozs. vinegar, $ oz. of butter of antimony, 1 oz. of spirits of hartshorn. Another. — One lb. of naptha, 4 ozs. of shellac, 1 oz. oxalic acid. Let it stand till dissolved, and add 3 ozs. of linseed oil. Gold Ink.— 24 leaves gold, $ oz. bronze gold, 30 drops of spirits of wine, 30 grains of honey, 4 drams gum-arabic, 4 ozs. rain water. The gold must be rubbed with the gum and honey, and the whole mixed with water, and the spirit added. Gold and silver inks used for illumination, are simply the metals powdered very fine, and mixed in weak gum water. Gold leaf ground with honey and mixed with thin gum, will be found to work well for illuminations. Gilder’s Ormolu. — Quarter pint spirits wine, £ oz. garnet shellac, 1 dram of red saurders wood, £ dram turmeric. To Clean Looking Glasses. — Sponge down the glass with gum and water, equal parts, then dust down with whiting, and finish with a soft old silk handkerchief. To Clean Marble. — Mix with \ pint of soft soap, £ gill of turpentine, sufficient pipe clay and bullock’s gall to mako the whole into a rather thiok paste. Apply it to the marble with a ( 130 THE GILDEK’S MANUAL. •oft brush, and after a day or two, when quite dry, rub it off with a soft rag. Apply this a second or third time till the marble is quite clean. Gold Color Copal Varnish. — Take one ounce of powdered copal, two ounces of essential oil of lavender, and six ounces of spirits of turpentine ; put the oil of lavender into a matrass of a proper size placed on a sand bath subjected to a moderate heat. When the oil is very warm add the copal from time to time in very small quantities, and stir the mixture with a stick of white wood rounded at the end. When the copal has entirely disap peared put in the turpentine in almost a boiling state at three dif¬ ferent times, and keep continually stirring the mixture until the solution be quite completed. Cleaning Engravings. — Put the engraving on a smooth board, cover it thinly with common salt finely powdered. Squeeze lemon juice upon the salt so as to dissolve a considerable portion of it ; elevate one end of the board so that it may form an angle of about 45 or 50 degrees. Pour on the engraving boiling water from a tea kettle until the salt and lemon juice be all washed off. The engraving then will be perfectly clean and free from stains. It must be dried on the board or some smooth surface gradually. If dried by the fire or the sun it will be tinged with a yellow color. Another Method. — Immerse the print for an hour or so in a ley made by adding to the strongest muriatic acid its own weight in water, and to three parts of this mixture adding one of red oxide of manganese. 4 A print, if not properly clean may remain in this liquid for twenty-four hours without harm. Indian ink stains should in the first instance be assisted out with hot water ; pencil marks taken out with Indian rubber so carefully as not to injure the en¬ graving. If the print has been mounted, the paste on the back should be thoroughly removed with warm water. The saline crystal left by the solution may be removed by repeated rinsings in warm water. Ink Spots in Mahogany. — To take out ink spots in mahogany, apply oxalic acid in water with a sponge till the ink disappears. To Revive the Gilt op Picture Frames. — Beat up three ozs. of the whites of eggs with one oz. of chloride of potash or soda. Brush the frame carefully over with the above, when the frame will have a much fresher appearance. To Take Ink out of Paper. — Two drams of muriate of tio mixed with double its quantity of water applied with a soft brush, will bri ng out the ink. The paper must be well r psed in water to wash off the stain. THE GILDER’S MANUAL, 181 Another. — Citric or tartaric acids can be applied to the leaves of books or engravings to take out ink stains. To Remove Stains and Spots from Paper. — The clear solu¬ tion of chloride of lime diluted with twice its bulk of water, will effectually and expeditiously remove stains from prints and printed paper. First soak the paper in clear water till it becomes smooth, then remove it into a dish large enough to hold it flat filled with the solution diluted as above. The stain will disappear in a few minutes, after that again soak the paper in clear water to free it from chloride of lime, and dry it between sheets of blotting paper. To take Grease and Ink out of Paper. — Apply to it a cam¬ el’s hair pencil dipped in muriate of tin, two drams, water four drams. After the writing has disappeared the paper should be passed through water and then dried. To extract grease spots from paper, gently warm the greased cr spotted part of the paper, and then press upon it pieces of blotting paper one after another to absorb as much of the grease as possible. Have ready some fine clear spirits of turpentine, heated almost to boiling state ; slightly warm the greased part of the paper, and with a soft clean brush, wet both sides of the spot with the heated tur¬ pentine. By repeating this application the grease will be ex tracted. Lastly, with another brush, dipped in rectified splits of wine, go over the place, and the grease will entirely disappear without the paper being discolored. White Furniture Cream. — With the following receipt the vinegar must be mixed with the linseed oil by degrees, and the bottle well shook up. The spirit of antimony must afterward be added, and well mixed. Six ounces of raw linseed oil, three ozs. methylated spirits, three ozs. white wine vinegar, half an ounce of butter of antimony. Cement for Mounting Photographs. — Fine wheat starch, four drams, beat into a paste with cold water, one oz. of best Russian glue ; dissolve in a pint of boiling water ; while boiling pour on the starch ; put the whole into a saucepan, and boil till as thick as treacle. When required for use a small quantity is to be melted in a little warm water. Brushes for Varnishing. — Varnish brushes should be made of long white hairs, have a good spring, and be of the best quality. They should be worn fiat, sharp, and thin at the point, as they will lay on the varnish so much more regularly. No oil brush should be put in the varnish, if so they should be well washed first in turpentine and well squejzed out. It is important to pay a little attention to brushes when not in use, and oil varnish brushes should be suspended in varnish of the same sort as used. 132 THE GILDER’S MANUAL. care being taken that the varnish covers the hairs of the brush up to the binding of the tin. The advantage is that they are always clean, pliable, and straight. If brushes are kept in turpentine they become hard and harsh, and the turpentine left in the ^rush will cause the work to look cloudy or streaked. To Silver Copper Work. — Dissolve in one ounce of aquafortis, over a moderate fire, one dram of good silver in small pieces, when dissolved take the vessel off the fire, and throw in as much white tartar as will absorb the liquor, and make it into a paste. Copper or brass work cleaned and rubbed over with this paste will have a brilliant silver surface. To Remove Varnish from Prints. — The varnish may some¬ times be removed by rubbing it up with the fingers ; a white powder is produced, which must be dusted off. The print must then be stretched, sized and varnished, as before directed. If the varnish will not rise by rubbing, it has not been varnished with nastic. Another Method. — Blotting paper spread over the print and saturated with pure spirit, will dissolve the varnish. The blot¬ ting paper should be changed and the process repeated if not effec tual the first or second time. Wood Stain eng. — Many of the cheap frames now sold are stained wood, and walnut is imitated by darkening elm or beech The more figure there is on the wood the better beech may be made to imitate mahogany by the following receipt : — One or.nce ff dragon’s blood, pulverized, put into one pint of rectified spirits of wine ; keep it in a warm place until dissolved. Oak stain may soon be made by adding to a quart of water two ounces each of potash and pearlash. Tm's is a very good stain, but should be used carefully, as it blisters the hands and softens brushes. It should be kept corked up. A lighter stain may be made by adding more water. To improve the tint of any stain mix one ounce of nitric acid, half a tea-spoonful of muriatic acid, quarter of an ounce of grain tin, and two ounces of rain water. It should be kept in a well corked bottle, and mixed two days before using. A little of the above will render any stain more brilliant. Imitating Rosewood. — 1. A transparent liquid rose pink, used in imitating rosewood, consists in mixing \ lb. of potash in 1 gallon of hot water, and ^ lb. of red sanders wood is added there¬ to ; when the color of the wood is extracted, 2$ lbs. of gum shellac are added and dissolved over a quick fir© ; the mixture is then ready to be used on a groundwork made with logwood stain. 2. Boil $ lb. of logwood in 3 pints of water till it is of a very dark red, add | oz. of salts of tartar. While boiling hot stain the T WE GILDER’S MANUAL, IBS wood with two or three coats, taking care that it is nearly dry be¬ tween each ; then with a stiff flat brush, such as is used by the painters foi graining, form streaks with black stain. This imita¬ tion will very nearly equal the appearance of dark rosewood. 3. Stain with black stain, and when dry, with a brush as above dipped in the brightening liquid, form red veins in imitation of the grain of rosewood. A handy brush for the purpose m iy be made out of a flat brusn, such as is used for varnishing ; cut the sharp points off, and make the edges irregular by cutting »ut a few hairs here and there, and you will have a tool which will ac¬ tually imitate the grain. Black Stain. — Boil 1 lb. of logwood in 4 quarts of water, add a double handful of walnut peel or shells ; boil it up again, take out the chips, add a pint of the best vinegar, and it will be fit for nse ; apply it boiling. This will be improved, if when dry, a solution of green copperas, an ounce to a quart of water, is ap¬ plied hot over the first stain. Black Stain for Immediate Use. — Boil i lb. of chip log¬ wood in 2 quarts of water, add 1 oz. of pearlash, and apply it hot to the work with a brush. Then take £ lb. of logwood, boil it as before in 2 quarts of water, and add | oz. of verdigris and i oz of copperas ; strain it off, put in I lb. of rusty steel filings ; with this go over the work a second time. Ebony Stains. — 1. Stain work with the black stain, adding powdered nutgall to the logwood and copperas solution, dry, rub down well, oil, then use French polish made tolerably dark with indigo, or finely-powdered stone blue. 2. Hold an ordinary slate over gas, lamp, or candle, until it is well smoked at the bottom, scrape a sufficient quantity into French polish, and well mix ; then polish the article in the ordi¬ nary way. If there are any lumps gently rub them down and ap¬ ply another coat. 3. Prepare a decotion of logwood by adding a small handful of chips to a pint of rain water. Allow this to simmer until reduced one-fourth, and while the liquor is hot, dress the work to be ebon- ized two or three times. To the remainder of the liquor add two bruised nut-galls, a few very rusty nails, bits of iron hooping, or a piece of sulphate of iron the size of a walnut, and as much more rain water as will make about three-quarters of a pint of liquor. Apply this, which will be a black stain, hot as before, giving two coats, and when thoroughly dry, polish with ordinary French polish, to which sufficient powdered thumb-blue has been added to preceptibly color the polish. Use a glazed pipkin in which to prepare the stain. Take care that no oil or grease comes In contact with the brushes used or the surface of the wood until 134 the gilder’s manuai* ready for polishing. Let each coat of stain dry before the next is added, and rub down with well used, fine glass-paper. Syca¬ more, chestnut, and plane-tree, are the best woods for ebonizing in the above manner. 4. Infuse gall-nuts in vinegar in which rusty nails have been soaked, rub the wood with the infusion, dry, polish, burnish. 5. Stain in the first place with a hot saturated solution of log¬ wood, containing a little alum ; and, when dry, brushit over with common writing ink. Imitation Carved Oak Frames. — These frames may be made to look very effective with a gold inside, and are suitable for historical engravings. They are made up from moldings in the white, and mountec with composition ornaments, backed up as if for gilding. After a coat of thin white, they must be glass-papered down, and then toated with Venetian red and white. Black Japan thinned down with turpentine, is then laid on, and combed for oak grain. Two coats of oak varnish will be required to finish the work. If a woody grain is required, mix chrome yellow with the color. To Brighten Gold Frames. — Take sufficient flour of sulphur to gi ve a golden tinge to about 1| pints of water, and in this boil i or 5 bruised onions, or garlic, which will answer the same pur¬ pose ; strain off the liquid, and with it, when cold, wash with a soft brush any gilding which requires restoring, and when dry it will come out bright. Gold Frames. — Frames that have taken the dust and lock dirty may be brightened by going over them with a soft sponge and water till the finish size is removed, and then size them again. This should be done by a practiced hand, or the gold may be rubbed off. French Polish. — To one pint of spirits of wine, and half an ounce of gum shellac, half an ounce of seed lac, and a quarter of an ounce of gum sandarach ; submit the whole to a gentle heat, fre¬ quently shaking it, till the various gums are dissolved, when it is fit for use. Another. — Shellac 6 ozs., naptha 1 quart, «andaracli 1 oz., benzoin | oz. Another — Three ozs. shellac, 4 oz. of gum mastic pulverized, and one pint of methylated spirits of wine added. Let it stand till dissolved. Another. — 12 ozs. shellac, 2 ozs. gum elima, 3 ozs. gum copal, 1 gallon of spirits of wine ; dissolve. Another. — The following must be well mixed and dissolved : — Pale shellac 2\ lbs., 3 ozs. mastic, 3 ozs. sandarach, 1 galL spirits of wine. After the above is dissolved, add 1 pint of copal var- the gilder’s manual. 135 nish, 11 ozs. shellac, £ oz. gum juniper, 1 oz. benzoin, } pint of methylated alcohol. AnotJier. — Gum mastic, seedlac, sandarach, shellac, and gum* arabic, 1 oz. each pulverize and add f oz. of virgin wax. Dis solve in 1 quart of rectified spirits of wine. Strength op Gold Size. — As we before mentioned that refer¬ ence would again be made to the strength of size, with a view of determining the right strength for the work, we will do so now at the end of the volume. Hitherto experience ha9 decided the strength of burnish gold size, so that when the burnisher is applied it will not friz up ; and even the man of experience is somewhat puzzled when he wishes to get on with his work, and has hot size to make up his prepara tions. A few little experiments have been tried during the progress of this volume through the press with a view to determine, a« near as can be, the strength required for a good burnish, without leaving it to an uncertainty. There is a little instrument used to test milk called a Laciome ter , which is a float that records the density of the milk. By this little instrument the density and strength of size may always be known exactly, without leaving any doubt on the matter ; and as a standard to regulate the strength required, a good burnish will be the result of size where the float registers it a little weaker than three-quarters milk, and matt a little stronger Matt should be stronger, and the float would register near the 2. State op Oil Paintings to re Lined. — If an oil painting requires lining, and is bud)y cracked or very rotten, a good sheet of paper should be pasted on the face of the picture to strengthen and preserve it during the operation ; and the stretcher should be a little larger than the painting, so that the edges of the picture will not tear up. The sheet of paper must be carefully sponged off when the picture is dry. r HOW TO DRAW AN1( PAINT . — A complete handbook on the whole art of Drawing and Painting, containing concise instructions in Outline, Light and Shade, Perspective, Sketching from Nature, Figure Drawing, Artistic Anatomy, Landscape, Marine, and Portrait Paint¬ ing, (he principles of colors applied to paintings, etc., etc., with over 100 illustrations, 12 mo., boards, with cloth back . . .Price 50 cfcs* EXCELSIOR SERIES OF RECITATIONS AND READINGS.— The great demand for new and suitable Readings and Recitations has led to the compilation of these books. Our experienceof the past warrants the belief that our efforts will be appreciated by the public. Each number will coniain about II 6 pages, bound in a beautiful illustrated cover printed in colors. < Nos. 1,2, and 3 now ready........... . Price 25 cts. each. THE COMPLETE DEBATER.— Containing Debates, Outlines of Debates, and Questions for Discussion, to which is added an original and complete debate on Free Trade. Bound in boards, with cloth back, containing over 200 pages. . Price, 50ctg THE MODERN BAR TENDER'S GUIDE.— Containing clear and practical directions for mixing all kinds of cocktails, sours, egg nogs, sherry cobblers, coolers, absinthe, crustas, fizzes, flips, juleps, fixes, punches, lemonades, and pousse cafes, together with complete directions and receipts for making all kinds of domestic brandies, beers, wines, cordials, extracts, and syrups. Bound in paper . . . . . Price 50 cts. Bound in extra cloth, gilt . . “ 75 cts. PAYNE’S BUSINESS LETTER WRITE! AND BOOR OF COMMERCIAL FORMS. — Containing specimen letters on all possible business topics, with appropriate answers. Added to this are a great number of forms for Business Papers and Documents, such as Agreements, Leases, Promissory Notes, Mortgages Ronds, Receipts, and a host of other forms. Bound in boards, with cloth back. . . Price 50 cts. DUNBAR'S COMPLETE HANDBOOK OF ETIQUETTE.— This work pre¬ sents, in a clear and intelligible manner, the whole art and philos¬ ophy of Etiquette. Among the contents are : Bodily Deportment, X Speak Grammatically, Self-Respect, Pedantry, Social Charac¬ ters, Traveling, Useful Hints on Conversation, etc., etc. Bound in boards, cloth back . . . Price 50 cts. BUBDETT'S SERIES OF RECITATIONS AND READINGS.—' The<=e books contain, new and original pieces never before published. The entire- series compiled and arranged by the popular avid talented humorist James S. Burdett. No. 1, Dutch Dialect, and No. 2, Serio Comic now ready, be followed rapidly by No. 3, Negro Dialect; No 4 Patriotic; No. o. Dramatic; No. o, Heroic; No. ,- Shakesperean. etc illustrated paper cover, containing 160 pages . . . . .xtice 25 cts * ftr Bale by all Booksellers, or will be sent, postpaid, on receipt of prm'- POPULAR ELECTRICAL BOOKS. A. B. C. OF ELECTRICITY. By W. H. MEADOWCROFT, Endorsed by Thos. a. Edison. This is an excellent primary book. Over 70,000 copies have been sold. The A. B. C. principles upon which electrical science is built are set forth in a clear and concise manner. The infor¬ mation it contains is valuable and correct. It is for every person desiring a knowledge of electricity and is what its title implies, the first flight of steps in electricity, xamo, doth , must. Price , 50o. A. B. C. OF THE X-RAYS. By W. H. MEADOWCROFT. This is the best primary work on the subject. The aim of the book is to explain the whole apparatus and the manner of its workings in a popular and practical way. i2mo , cloth , illustrated. Price% 76o. A. B. C. OF ELECTRICAL EXPERIMENTS. By W J. CLARKE. A practical elementary book adapted to beginners and stu¬ dents; giving plain instructions for the making of batteries, magnets, telegraph, telephone, electric bells, induction coils, X-rays, wireless telegraphy, dynamos and motors. Any student either young or old can procure the material mentioned at small cost, and can make for himself any of the instruments, or can work out the experiments given in this book, thus getting a thorough practical knowledge of the principles which underlie the great science of Electricity. i2mo , cloth, illustrated. Price, $1.00. ELECTRICAL INSTRUMENT MAKING FOR AMATEURS. BY 8. R. BOTTONE. Contains plain instructions by which any one moderately handy with tools can make the instruments now employed in theoretical or practical electricity from Torsion balance and induction coils to dynamos, motors, telephone, phonograph, and micrograph. / 2mo, cloth , illustrated. Price, ELECTRIC BELLS AND ALL ABOUTTHEM. By S. R. BOTTONE. In this volume the whole subject of electric bells is ex¬ plained in simple language. A great help to the professional. An amateur can master it within a very short time. i2mo, cloth, illustrated. Price , ELECTRO MOTORS, How Made AND HOW USED. By S. R. Bottone and A. M. A. Beale. A handbook for amateurs and practical men, giving a com¬ plete and simple explanation of the source of the power in a motor and the method of applying the same. l2mo, cloth , illustrated. Price, 76o. HOW TO MAKE A DYNAMO. By Alfred Crofts. A practical work for amateurs and electricians, giving de¬ tailed instructions for constructing dvnamos and all the parts. i2mo, cloth, illustrated. Price , 76o. Any of the above books sent postpaid upon receipt of price. EXCELSIOR PUBLISHING HOUSE, MoKEON & SCHOFIELD, Proprietors. NEW YORK. PRACTICAL SELF HELPS COURT REPORTING. A MANUAL OF LEGAL DICTATION AND FORMS. This book is designed for stenographers and typewriters whc are desirous of becoming proficient and expert in law work and court reporting. It contains all the various forms of legal matter that are dictated to a stenographer in a law office or court, and are taken from actual business dictated by our most prominent lawyers and judges, which makes the book a valuable work, both for self and class instruction. The highest state of proficiency can be attained in stenography and typewriting through the practice offered by this book. The book also contains a list of legal words and phrases, with their abbreviations, which are in constant use in law work, together with a full and complete spelling list of 28,000 words. i2mo. Bound in Half Law Sheep. Price . $1.00. BROWN'S BUSINESS CORRESPONDENCE AND MANUAL OF DICTATION For the use of teachers and students of stenography and type¬ writing. Containing selected letters of actual correspondence in bank¬ ing, insurance, railroad, and mercantile business; a chapter on punc¬ tuation, spelling, and use of capital letters; together with a full and complete spelling list of 25,000 words. i2mo. Cloth. Price, $1.00# LAW AT A GLANCE; OR, EVERY MAN HIS OWN COUNSELOR. A new epitome of the laws of the different States of our Union and those of the General Government of the United States, and will be found invaluable to those who are forced to appeal to the law, as well as the large class who wish to avoid it. The whole is alpha* betically arranged so as to make reference to it easy. i2mo. Half Law Sheep. Price . SI. 00. BOOKKEEPING AT A GLANCE. By Expert J. T. BRIERLY. A simple and concise method of practical bookkeeping, with in¬ structions for the proper keeping of books of accounts, and numerous explanations and forms used in commercial business, showing an entire set of books based upon actual transactions, how to take off a trial balance sheet, and finally close and balance accounts. Also Catechism of Bookkeeping — being conversation between teacher and student. Containing 144 pages. Small i6mo. Russian leather. Price. 50 cents. Russian leather, gilt, indexed. Price, 75 cents. After reading it any intelligent person should be able to select and operate X-Ray apparatus. BY WM. h. meadowcroft, Fully Illustrated. ONE VOLUME, 12mo., CLOTH. a B C of the X-Rays” is the best primary work on the subject. A book for the people. The au¬ thor of “ A B C of Electricity ” showed clearly in that work his ability to explain a technical subject for the laymen who know nothing of scientific terms. He has written this work about the X-Ray in his usual clear and simple style, and a wide circulation of this highly useful book is assured. The aim of this book is to explain the whole apparatus and the manner of its working in a popular and practical way. The text of the author is beautifully embellished with fine engravings, and nothing is omitted that will give the public a clear knowledge of the remarkable discovery of Professor Roentgen. Price 75 cents. EXCELSIOR PUBLISHING HOUSE, MCKEON & SCHOFIELD, Proprietors, NEW YORK, New and Popular Books sent Free of Postage at Prices Annexe* EXCELSIOR WEBSTER POCKET 8PELLER AND DEFINER of the English Language.— Containing over 25,000 words. This work gives the correct orthography and definition of all the words in common use. The illustration gives a fair idea of the shape of the work, being especially made to fit the pocket, and bound in & style which makes it durable and elegant. This Speller and Deflner is not a reprint, but has been carefully prepared by competent hands to meet the general want for & book of this kind; and, for the space it occupies, has no superior in the publishing world ; containing 320 pages, double column, it weighs 2% ounoes, size 6 x 2 inches, neatly bound in elegant American Russia Leather, Burnished Edges, and Indexed. Price . 50 eta. BROWNS BUSINESS CORRESPONDENCE AND MANUAL OF DICTATION.— Especially designed for the use of Teachers and Students of Stenography and Typewriting. Containing; A. collection of selected letters, representing actual correspondence in Banking, Insurance, Railroad and Mercantile business ; a chapter on Punctuation, Spelling, and Use of Capital Letters; together with a full and complete Spelling List of 27,000 words. Also Special Exercises for Dictation — carefully graded— comprising selections from choice literature, Transcripts of Court Testimony, Address to Jury, Judge’s Charge, and Sentence; Architect’s Specifications; copies of Legal Papers; Banker's Weekly Financial Circulars, Railroad Lease, First Mortgage, copy of Bond, Contracts, Prospectus, Notices, etc., etc. By William H. Brown, Instructor in Stenography at the Young Men’s Christian Association— Harlem Branch— New York City. Contains 320 pages, large 12mo, cloth. Price . $1.00 WILSON’S MODERN DANOES.— a new exposition of all the Modern Dances, including The York, La Pavane, Military Schottish, Christ- was Polka, Highland Schottish, Waltz-Caprice; containing Full, Clear, And Practical Instructive Diagrams of Marches, Quadrilles, Waltses, Pelkaa, etc , etc. Con tain&ng 128 pages, paper ©orv Rrio*. ,....25 «t*« L 1 GETTY CENTER LIBRARY •V-\U » jir,: in tea^ssMsss in I - #• I'A %* V' % ill