5. Reparation; in which a skilful artist retouches the whole.
6. Cleansing; with a damp linen rag, and then a soft sponge.
7. Préler. This is rubbing with horse’s tail (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 colourless size. The thinner part of this mixture is applied hot over the white surface 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 which the gold is to be laid. It is composed of Armenian bole, 1 pound; bloodstone (hematite), 2 ounces; and as much galena; 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 sheepskin glue, very clear and well strained. This mixture is heated and applied in three successive coats, with a very fine long-haired brush.
11. Rubbing, with a piece of dry, clean linen cloth; except the parts to be burnished, which are to receive other two coats of assiette tempered with glue.
12. Gilding. The surface being damped with cold water, (iced in summer) has then the gold leaf applied to it. The hollow grounds must always be gilded before the prominent parts. Water is dexterously applied by a soft brush, immediately behind 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.