SETTING IN THE INLAY
The next process is that of setting the inlay into the groundwork, so that no relief remains. This is done with the help of a roller with a long wooden handle held in both hands and pressed against the shoulder, as illustrated in Fig. 25. The paper on which the inlay is pasted plays an important part in this operation; the greater its thickness, the greater will be the pressure attainable, and the deeper the penetration of the inlay into the damp background.
At first the roller is worked lightly with one hand only to ensure the uniform adherence of the inlay, the movements being short, and repeated several times over the same spot. When afterwards pressing heavily over the whole surface, a piece of thin, tough paper between the roller and the work will prevent the inlay from curling up, and the paper may be lifted from time to time to see that nothing is out of place.
FIG. 25.—USING ROLLER TO SECURE ADHESION OF INLAY
When the work is not too large, it is easier and more effectual to use a copying-press instead of a roller for this operation, which is then carried out in the following manner: A piece of felt is laid in the press, and over it a sheet of very smooth or nickelled zinc, or, failing this, of Carton Jacquart. The work is then laid on it and covered with a second sheet of nickelled zinc and some pasteboards. The press is screwed up as tightly as possible.
The work must not remain in the press, as if allowed
to dry completely, the subsequent removal of the paper pasted to the inlay would become extremely difficult. To effect this removal, the paper is dabbed with a damp sponge until it is ready to come off. A point of the pincers is inserted underneath the paper which, if sufficiently soaked, should easily come away when the tool is slid gently along. The paper, as it becomes freed, should frequently be cut off with scissors to facilitate the handling of the tool. The leather, being damp, may possibly become unstuck and stretched during this process. It must then immediately be repasted and replaced, and the stretched part reduced to its original size by gently pushing it together with the modeller. Should it be found impossible to reduce it thus, the part that is out of shape must be cut off and joined on again. When the paper has been removed, the whole surface is carefully washed over, wetting it as little as possible, so as not to cause the mosaic to become unstuck. The work is then placed in the press, or under boards, until it is perfectly dry.