The gold box is of course a receptacle for the gold leaf, and as the leaf is sent from the gold beaters in sheets placed between leaves of paper sewn together like a volume, this is naturally called the gold book.
Having received his frame, then, the Gilder first gives it two or three coatings of “thin white,” which is the name by which the size and whiting is known in the trade. If any part of the frame is to be burnished, it afterwards receives a coat or two of rather thicker size.
When these are dry, strong warm size is laid on with a brush; this is called clear cole, and produces a smooth glossy surface, which prevents the oil gold size from sinking through. Oil gold size is the next coating given to the frame, and it is made of ochre and boiled linseed oil, ground up together into a smooth creamy liquid, which is thinned with more boiled linseed oil, and put on very carefully with a soft brush. In a few hours, after the oil gold size is put on, it is sufficiently dry to receive the gold leaf; the surface being then slightly sticky, so that it will hold it firmly and without its own surface being disturbed.
Pipkin. Rule. Gold Size Pot.
The Gilder now commences the most important part of his work by taking the cushion on his left hand, with his thumb through a loop which is attached to the bottom of the leather; between the fingers of the same hand he places the tools that he will have to use,—namely, the tip, the gold knife, and the camel-hair pencil. He then takes a gold book and carefully blows out a leaf at a time on to the cushion, until he has eight or ten leaves all heaped together within the rim of parchment which holds them from flying away. This is a very delicate operation, since if he should blow too hard the leaves would be carried all over the room. He next separates one of the leaves from the rest with his knife, and without cutting or tearing it lays it down smoothly upon the front part of the cushion, partly by a gentle use of the knife itself, and partly by skilfully blowing upon it. Then taking the tip in his right-hand he carefully presses it on the leaf, to which it adheres, and by this means transfers it to that part of the frame where he is at work. Where the ornaments are very deep, the same part is gilt three or four times over, and the gold is sometimes pressed in with a wad of cotton.
Skewing Brush. Small Pencil.
After the whole surface is carefully skewed, or gone over with the brush which removes the ragged edges and still further presses the gold into the ornaments, the frame is well dusted with another soft brush, and then sized with clear size, after which the work is complete.