The process of gilding and bronzing picture frames

by Isaac H. Walker

Be careful, when burnishing edges and corners, to bear as lightly as possible with the burnisher, in order to avoid chipping.

20.—Marks in the burnish sometimes appear which seem to be stains, and which branch off in many ways. Such defects are most probably caused by the gin-water being too strong.

21.—The next step will be to apply the oil gold-size to these parts which have been left bare of gold and which have been thoroughly sized with the clear size. It is customary to previously go over with clear size these places which have been touched with burnish-size and which have not received any coating of gold; otherwise the oil-size would be absorbed and would leave no tacky surface to which the gold leaf would adhere. Sufficient of the gold-size should be taken from the can containing it, after first stirring the gold-size up thoroughly, so as to mix it completely with the oil which generally settles on top of it. A piece of tin or glass is the best thing to work from, and the bristle brush with which the size is to be applied should be well rubbed on it from time to time, to distribute the size thoroughly through the brush.

The size must be applied thoroughly to the frame, not too freely, so as to run and settle in hollows, but just enough to cover the surface with a complete coating. Be particular to work the size into all corners and crevices. The brush should not at any time be overcharged with the size. If the size is not evenly distributed over the frame, those places where it settles will simply coat over with a film, leaving the size underneath still fluid, and when the gold comes to be rubbed in with the blender, the film will quickly rub off, and the gold leaf will consequently not adhere.

If any of the oil-size has got upon the burnished parts, which in spite of all care will occur at times, it must be rubbed off with a chamois-skin and if such places are still dingy after the oil gilding, they will admit of considerable polishing with the chamois.

22.—The coat of oil-size must now be allowed to dry. The time required for this purpose depends altogether upon the drying quality of the size. It is generally made to dry in about ten hours and to retain its tacky surface for several days. It is well to allow it to stand for, at least, from twenty to twenty-four hours; particularly in the winter time, as the more thoroughly dry it is, the brighter will the gilding appear when completed.

When this coating of oil-size has dried sufficiently, it will be ready to have the leaf applied. The leaf, as it is applied, is pressed down gently with a pad of cotton batting. When the frame has been completely covered, take a soft fitch blender and with it distribute the gold thoroughly into corners and depressions. Be careful not to rub too hard, or the gold will be either rubbed off or assume a greasy appearance. If this be all properly done, the gold will have almost as bright and polished an appearance as if it had been burnished.

23.—After dusting the frame well, to remove as much of the dust and particles of leaf as possible, proceed to give these portions only of the frame which have been gilded in oil a coat of finishing-size, which is prepared in the following manner:

Take one part of the melted gelatine or glue, as already prepared, and add to it four parts of water. Now, with a camel’s hair brush, apply this finishing size, hot, or nearly so, very sparingly, but very thoroughly. This finishing size may be colored, if desired, so as to deepen the shade of gold; using for that purpose, dragon’s blood, gum gamboge or aniline yellow. Only one coat of this size should be applied. This finishing-size serves to give a uniform appearance to the gold, slightly matting the metallic lustre of it, and having the effect also to absorb and remove the loose gold dust and particles still remaining. It also protects the surface from becoming dingy from smoke or other impurities which frequently prevail in rooms.

24.—If it should be desired to render the appearance of the gold still duller or more matted, a very thin coat of the ormolu, which is hereinafter described, should be applied instead of the finishing-size. The more matted the appearance of the surrounding gold, the brighter and more lustrous will be the burnished part. This is altogether a matter of taste and fashion, sometimes a preference for one effect and sometimes for another, prevailing with the public.