reduced with the paring-knife. A small margin is left for this purpose in cutting out. Paring the edges to their thinnest possible substance will give a slightly jagged outline, and the extra piece will thus more easily merge into the join than if sharply cut. Outlining with the hot tool will perfect the join.
PASTING THE INLAY ON A MOROCCO GROUNDWORK
To avoid crushing the grain of rough morocco, the tool illustrated in Fig. 33 is used instead of the roller to secure the adhesion of the inlay to the groundwork, in order that the pressure may be applied only upon the inlay. Damping the groundwork, except where the ornament is placed, should be avoided. The tool is held pressed down with both hands as in Fig. 34, and rubbed backwards and forwards. The work is then placed under boards.
MOSAIC ON MODELLED LEATHER
The remarks on paring leather for polychrome mosaic apply also to paring the leather for covering a design in relief. An extra margin is left round the edges, which are “slashed” with the tool, so that they may better embrace the form of the modelling, the finer details of which are not worked until afterwards. The leather is first placed dry in position over the modelling, and smoothed over with a modeller, so that it takes the form of the relief. It will then be seen how much should be cut from the edges, so that it may exactly fit into the outline when it is pasted on.
INSERTED MOSAIC
This method of mosaic invented by Mons. Aumaître possesses the advantage of being very durable, owing to the edges of the inlay being secured between the two edges of the incision made in the groundwork. The outline is
deeply cut in the groundwork, the incision well opened with the opener and then filled with paste. The inlay is also pasted and the edges inserted in the incision. A wheel or a large modeller is used to press down the edges, and the outline is then gone over with a hot tool.
