Burnishing

When the work is covered with gold, set it by to dry; there is a particular state or degree of dryness, known only by experience in which the moulding is in a fit state for burnishing; it will probably be ready to burnish in about eight or ten hours, but it will depend on the warmth of the room or state of the air.

When it is ready, those parts intended to be burnished must be dusted with a soft brush; then wiping the burnisher with a piece of soft wash-leather (quite dry) begin to burnish about an inch or two in length at a time, taking care not to bear too hard, but with a gentle and quick motion, applying the tool until all the parts of the surface are equally bright.

Matting Or Dead Gold

Certain portions only of the work are burnished, according to the fancy, and the facility with which the bumishing-tool can be applied; the remaining parts are now to be deprived of their metallic lustre, to make a more effective contrast with the burnishing. The parts thus treated are said to be matted or dead-gold. The process is as follows:

Grind some vermilion or yellow ochre very fine, and mix a very small portion either with the parchment size or with the white of an egg, and with a very soft brush lay it evenly on the parts to be dulled; if well done, it will add greatly to the beauty of the work. Previous to matting, the work must be well cleared of superfluous gold, by means of a soft brush.

Finishing

In elaborate works it is frequently impossible to lay golddeaf into all the intricacies of an elaborate design, and the parts thus left bare must be finished by touching up with a small brush charged with shell-gold, or gold-powder, mixed with gam-Arabic to the proper consistency. The following receipt describes the preparation of shell-gold :

Shell Gold

Take any quantity of leaf-gold and grind it with a small portion of honey, to a fine powder, add a little gum Arabic and sugar-candy, with a little water, and mix it well together; let it dry.

Silver Size

Grind pipe-clay fine with a little black-lead and good soap, and add parchment-size as directed for gold-size.

Composition For Frame Ornaments

The ornaments for gilded mirror-frames, etc., are usually moulded from some plastic substance that is somewhat tougher and more durable than the ordinary gilding foundation of whiting and size. The proper moulds being prepared they are thoroughly rubbed upon the inside with sweet oil, and the composition firmly pressed in; after removing the mould the cast may be dried by a gentle heat, or while still plastic it can be applied in its proper place and bent into any position. Following are receipts for composition:

Dissolve 1 lb. of glue in 1 gallon of water. In another kettle boil together 2 lbs. of resin, 1 gill of Venice turpentine, and 1 pint of linseed oil; mix altogether in one kettle, and boil and stir till the water has evaporated. Turn the whole into a tub of finely-rolled whiting, and work it till it is of the consistency of dough.

Boil 7 lbs. of best glue in 7 half-pints of water. Melt 3 lbs. of white resin in 3 pints of raw linseed oil. When the above has been well boiled put them into a large vessel and simmer them for half an hour, stirring the mixture and taking care that it does not boil over. The whole must then be turned into a box of whiting rolled and sifted, and mixed till it is of the consistency of dough.