(a) For illumination on a large scale, ordinary gilders' size can be used on stout paper. For fine work or water-matt, gold size is useful, but not easy to bring to a smooth surface. Clear gum arabic, used as thickly as is con-' venient for the paint-brush, makes a good ground for the gold leaf. The ordinary gilding size must be left till it is tacky, that is, all but dry. Having seen that the size is properly tacky, or having breathed on the water size or gum, lay the gold leaf on the work, pressing a piece of slightly-greased paper gently on with the fingers. In a few minutes take up the paper rather briskly from the work, and it should bring away all superfluous gold.

(6) Letters written on vellum or paper are gilded in three ways. In the first, a little size is mixed with the ink, and the letters are written as usual; when they are dry, a slight degree of stickiness is produced by breathing on them, upon which the gold leaf is immediately applied, and by a little pressure may be made to adhere with sufficient firmness. In the second method, some white-lead or chalk is ground up with strong size, and the letters are made with this by means of a brush; when the mixture is almost dry, the gold leaf may be laid on, and afterwards burnished. The last method is to mix up some gold powder with size, and to form the letters of this by means of a brush.


First coat the zinc with copper by the electrotype process, using an alkaline copper bath, and then gild on the copper, as that takes gold very readily. Organ pipes should be first coated with mastic varnish, and then oil-gilded in the usual manner.