c., FOR GILDING.—See Chapter IX. (pp. [145]–[6]).
IVORY TRACING POINT.—This is useful for various purposes, and for indenting patterns in burnished gold (see p. [191]).
BRUSHES.—Red Sables are very good. A separate brush should be kept for each colour—or at least one brush each for Reds, Blues, Greens, White, and gold “paint”—and it is convenient to have a medium and a fine brush for each.
PENS FOR COLOUR.—Quill pens are used: “Turkey” or “Goose.” The latter is softer, and is sometimes preferred for colour work. For very fine work (real) Crow Quills may be tried. A separate pen should be used for each colour.
COLOURED INKS.—Brown ink (tempered with black if desired) may be used for fine outlines: if the outlined forms are to be coloured afterwards, it is convenient if the ink be waterproof. [p173] Coloured inks seldom have as good a colour as the best paint colours (see Colours for Penwork, p. [176]).
COLOURS.—(p. [175]). MATT GOLD (see p. [183]).
PAINT-BOX.—The little chests of drawers, sold by stationers for 2s. 6d., make very convenient “paint-boxes”: pens, &c., may be kept in one drawer; gilding, tools, &c., in another; and colours and brushes in another.
PAPER (see pp. [51], [98], [103]).—PARCHMENT, VELLUM, & POUNCE (see below).
PARCHMENT, “VELLUM,” & POUNCE
(See also Appendix on Gilding, p. [167] and pp. [98], [356])
The name “Vellum” (strictly applicable only to calf-skin) is generally given to any moderately good skin prepared for writing or printing on. All the modern skins are apt to be too stiff and horny: chemical action (substituted for patient handling), followed by liberal sizing and “dressing,” is perhaps responsible. The old skins have much more life and character, and are commonly much softer. Their surface is generally very smooth—not necessarily glazed—often with a delicate velvety nap, which forms a perfect writing surface.