5. In executing any proposed work, a drawing is first made on paper, commonly with a lead-pencil. The part of the paper not embraced in the outline is then cut away, and the remaining portion is laid upon the surface of the wood. The outlines are next drawn on the wood, by moving the pencil around those on the paper. The design having been thus transferred, the superfluous portions of the wood are cut away with carving tools, of which there is a considerable variety of both size and form. The tools are driven with a mallet or with the palm of the hand, but in most cases with the latter.
6. A capacity for designing, and a knowledge of drawing and modelling, are particularly necessary to make a finished carver. Without these qualifications, at least in some degree, one may be a mechanic, but not an artist. The subject most difficult of execution, is the human figure, and in producing it with accuracy, the same qualifications in the artist are required, and the same general process is pursued, as in producing it in marble.
THE GILDER.
1. Carving and gilding are, in most cases, ostensibly united as one business, although in fact they are branches of manufacture totally distinct. The gilder, therefore, who writes over his door, "Carver and Gilder," seldom has any practical knowledge of carving. For every thing in this line of work, he is dependent on the carver, who commonly pursues his business in a private way.
2. The operation of gilding, as performed by those whose business is now under consideration, is executed chiefly on wood. It is employed most frequently for picture and looking-glass frames, and for upholstery fixtures. It is a mechanical process, and consists in applying gold-leaf to surfaces, in such a manner as to adhere with tenacity.
3. Before the application of the metal, a tedious process must be performed, by way of preparation. The surface to be gilded is successively covered with from five to seven coats of glutinous size, made by boiling scraps of parchment in water, with the addition of a little whiting. The average thickness of the coat thus produced, is about one-sixteenth of an inch.
4. The surface is next rubbed with freestone and pumice stone, of a shape corresponding with the pattern of the frame, while a small quantity of water is occasionally applied, to increase their effects. After this, the sizing is rendered still smoother, by friction with sand-paper. This surface is then covered with three coats of burnished gold size, which is composed of English pipe clay, venison suet, and French bole, or red chalk, mixed in a suitable quantity of weak parchment size. The preparation is completed by rubbing the surface with worn sand-paper, by washing it in water with a sponge, and by rubbing it with a piece of cloth.
5. The leaf is laid on with a broad, but thin brush, called a tip. Before the gold is applied, however, the surface is well wet with alcohol and water. When dry, the parts designed to be bright, are burnished with a polished agate or flint. In the best kind of work, a second coat of the leaf is required. In gilding irregular surfaces, such as the ornaments at the corners of frames, a size made of linseed-oil, white lead, yellow ochre, and japan, is laid on a few hours before the application of the leaf. This is called gilding in oil.
6. The ornaments on the frames are cast in moulds, and are made of a composition of glue, whiting, rosin, turpentine, and Burgundy pitch. The moulds are taken from patterns, originally executed by the carver.