The nib sometimes makes only a wet down-stroke on the parchment, but, by lightly pushing the pen up again, the stroke will be filled by the size which flows out from under the nib. Simple pen-strokes in small writing hold but little, and so ought to be filled as full of size as possible (pp. [150], [184]). They will be found to dry much more [p165] quickly than larger forms, and may be gilded within a few hours of writing. Half-a-dozen or more letters are gilded together (see p. [156]).
OTHER METHODS & RECIPES FOR GILDING
Gold-leaf may be cut with a “gilder’s knife” on a “gilder’s cushion,” and picked up with a “gilder’s tip.”
Water, white of egg, or alcohol may be used to make the gold-leaf adhere to the size.
“Transfer gold-leaf” is convenient, but the greasiness of the transfer paper is apt to dim the gilding.
Gold-leaf is made in many shades, from “red” (gold + copper) to “green” (gold + silver); though these may be used very effectively, they are liable to tarnish, and it is best to begin with pure gold (see pp. [152], [169]).
Silver-leaf oxidises and turns black; platinum (a good substitute) costs about 2s. 6d., and aluminium (not so good) about 6d. per book.
“Gold Ink” has been made with powdered gold: its effect is inferior to raised and burnished writing.
The following is from “The Book of the Art of Cennino Cennini” (written about the beginning of the fifteenth Century): Translated by Christiana J. Herringham, 1899:—
“Chap. 157.—How you must do miniature-painting and put gold on parchment.