Gilding and Bronzing.
The art of gilding has been practiced from the earliest dates. Mention
of it is made in the Scriptures, and it was known to the Egyptians, who
made an extensive use of it in the ornamentation of their burial cases.
It became to be generally used amongst the Romans soon after the
downfall of Carthage, and was applied very profusely to the decoration
of their dwellings and temples.
During the middle ages, and when the seats of learning and civilization
were located in Italy and among the Moorish Arabs in Spain, the most
elaborate use of it was made in almost every branch of art. It entered
largely into architectural decoration, and the cathedrals and mosques
were favorite objects for its display.
Among the Chinese, the use of gold leaf as a method of decoration has
been practiced for an indefinite period, and its origin with them must
be very ancient. Taken altogether, gilding is an art that has been and
still is in more general use than any other; and the reason is, that it
is almost always appropriate wherever called into requisition.
The art of gilding and of bronzing can readily be acquired by any one
who is disposed to devote care and attention to it. It is an art having
few, if any, amateurs. Those who practice it are generally those who
follow it as a trade, and, perhaps, for the reason that such persons
have but little time to spare from their profession, there is so little
written information found on the subject.
The cyclopædias are exceedingly deficient in everything like a correct
or reliable description of the art. The information which they give is
mostly of an elementary character, and of a kind that is somewhat
impracticable and very unavailable.
It was the want of a reliable work on the subject that suggested to me
the publication of such a general exposition of the whole matter as
would prove useful to those who might desire to be informed on it. I do
not propose to do more than give a description of the various processes,
and to endeavor to make such a description as simple and lucid as
possible. It is no part of a gilders business to make the frame which he
has to gild. Such used to be the case, but now there are factories where
the frame is turned out completely made. There are a number of such
factories in New York, and the person requiring a frame has only to
select the desired pattern and have it made up according to the
dimensions of the picture to be framed. Neither do I think it necessary
to introduce the subject of preparing those materials which are made
expressly for the purpose by regular dealers, and which, of course, will
then be found more reliable than when made by inexperienced hands. There
are several respectable dealers in New York who keep for sale almost
everything connected with the gilding and bronzing processes.
At a time when every one is more or less interested in the subject of
decorative art, and when many are seeking to qualify themselves towards
proficiency in some one or other branch of it, perhaps no more
appropriate subject could be offered to the public than that of gilding
a picture-frame in all its parts.
No fine picture should be without a fine frame, and even with a fine
frame an indifferent picture is very much improved; but taste and
discernment are both required in the selection of such a frame as either
a fine or an indifferent picture may require; and, although the artist
in general is supposed to be the best qualified to determine as to the
manner in which his painting should be framed, the frame-maker is really
more competent for that duty, and for the best of all reasons—that it is
his specialty.
Frames gilded in different colors of gold leaf are frequently seen, and,
for some subjects, such frames may do very well; but, in general, the
deep-colored gold is the most appropriate, and is the better suited to
remain in favor with the public. There can hardly be anything richer
than a frame finished in burnished and matted gold of a deep shade of
color.
Bronze frames, which have recently come so much into vogue, are destined
to retain their hold upon the public esteem for a long time. They are a
separate style of decoration, one that is very rich, and which admits of
great variety in the preparation, and they are particularly appropriate
to many subjects, such as water colors and engravings.
The art of their preparation is comparatively new to this country,
although it has been practiced for a long time in Europe; where,
perhaps, the best work is yet done. It has hitherto been kept a profound
secret by its votaries, and it has been a very difficult proceeding for
an amateur to obtain the least insight into it. It is said that some
bronzers, when practicing the art, shut themselves apart, in order to
prevent their operations being watched. There is really no reason for so
much secrecy on the part of those who have become possessed of the
information concerning this process, for the process is, in fact, a very
simple one. It does not require anything like the manipulation which
gilding requires. It is rather more laborious, however, as the amount of
burnishing of which it is susceptible is almost unlimited. This,
however, is not labor lost, as it serves to enhance the attractiveness
of the frame when finished.
It is the practice to use different colored bronze powders in
combination, and these combinations are very rich in their effect. The
silver, copper and verde-antique make rich contrasts. There is a great
field for the exercise of taste in the bronzing process, and those who
are adepts in it can command high prices for their work. The only
drawback, and it is equally a drawback to many other excellent
processes, is, that its popularity has been the means of causing a vast
deal of cheap and inferior work to be brought before the public; but
work that is really fine will continue to be regarded with favor
wherever it may be found.
[Illustration]
------------------------------------------------------------------------