1.—The frame which is to be bronzed must be proceeded with in the same
manner as described in the gilding process. That is to say, all
imperfections must be first remedied and the frame put in perfect order.
2.—Two coats of pipe clay are then to be applied to all of the
composition work, using a bristle brush for that purpose. The pipe clay
is to be prepared as already described for the gilding process.
3.—Two coats of burnish-size must next be applied all over the frame,
using a bristle brush instead of a camel’s hair brush on the composition
parts. For the smooth parts of the frame, a camel’s hair brush may be
used, as a more even surface may be obtained in that way. The
burnish-size should be applied very sparingly, so as not to clog up the
ornamental parts of the frame. After having given the frame two thorough
coats of the burnish-size, a third and final coat of the same size must
be applied. To this final coat, before being applied, should be added a
small quantity of powdered lamp black. The addition of the lamp black is
not absolutely necessary, however, as the object for which it is used is
simply to give a darker appearance to the final coat, which, in the
crevices and hollows, when the whole work receives the varnish coat,
then assumes that antique appearance. The lamp black rather impairs the
burnishing quality of the size, though not to any serious extent.
4.—After the final coat has been applied, put some of the bronze powder
which is to be used into a small saucer. A very little bronze powder
will go a great way. In another saucer, pour a weak solution of gelatine
or of gum arabic. This must be just sufficiently strong to hold the
bronze powder on the frame. The usual way of proceeding, in order to
apply the bronze powder, is to dip the fingers first into the gelatine
or gum arabic, and then into the bronze powder, and proceed to rub it on
to the work to be bronzed. It may be applied with a bristle brush, and,
where the powder is to be inserted into cracks and crevices, it must be
so applied. The object of using the fingers is, that with them a
smoother and thinner coat can be obtained; and the smoother and thinner
the coat, the better will it burnish.
5.—When the frame has been completely covered and the coating is
sufficiently dry, all the flat and smooth parts of the frame, and all
those parts of the composition work also which are in relief, must be
completely burnished. This part of the work requires a great deal of
patience and time; but one is fully repaid for the labor bestowed, in
the brilliancy of the work when done.
6.—After the frame has been burnished sufficiently, a thin coat of copal
varnish is to be given all over it. The varnish is intended to protect
the bronze from tarnishing through contact with the air, as well as from
any moisture which might accidentally get on the frame, and which, of
course, would remove the film of bronze.
[Illustration]
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=Transcriber’s Notes=
● Missing or obscured punctuation was silently corrected.
● Typographical errors were silently corrected.
● Inconsistent spelling and hyphenation were made consistent only when
a predominant form was found in this book.
● Text in italics is enclosed by underscores (_italics_).