1. Carving and gilding are, in most cases, ostensibly united as one
business, although in fact they are branches of manufacture totally
distinct. The gilder, therefore, who writes over his door, "Carver and
Gilder," seldom has any practical knowledge of carving. For every
thing in this line of work, he is dependent on the carver, who
commonly pursues his business in a private way.
2. The operation of gilding, as performed by those whose business is
now under consideration, is executed chiefly on wood. It is employed
most frequently for picture and looking-glass frames, and for
upholstery fixtures. It is a mechanical process, and consists in
applying gold-leaf to surfaces, in such a manner as to adhere with
tenacity.
3. Before the application of the metal, a tedious process must be
performed, by way of preparation. The surface to be gilded is
successively covered with from five to seven coats of glutinous size,
made by boiling scraps of parchment in water, with the addition of a
little whiting. The average thickness of the coat thus produced, is
about one-sixteenth of an inch.
4. The surface is next rubbed with freestone and pumice stone, of a
shape corresponding with the pattern of the frame, while a small
quantity of water is occasionally applied, to increase their effects.
After this, the sizing is rendered still smoother, by friction with
sand-paper. This surface is then covered with three coats of
_burnished gold size_, which is composed of English pipe clay, venison
suet, and French bole, or red chalk, mixed in a suitable quantity of
weak parchment size. The preparation is completed by rubbing the
surface with worn sand-paper, by washing it in water with a sponge,
and by rubbing it with a piece of cloth.
5. The leaf is laid on with a broad, but thin brush, called a _tip_.
Before the gold is applied, however, the surface is well wet with
alcohol and water. When dry, the parts designed to be bright, are
burnished with a polished agate or flint. In the best kind of work, a
second coat of the leaf is required. In gilding irregular surfaces,
such as the ornaments at the corners of frames, a size made of
linseed-oil, white lead, yellow ochre, and japan, is laid on a few
hours before the application of the leaf. This is called _gilding in
oil_.
6. The ornaments on the frames are cast in moulds, and are made of a
composition of glue, whiting, rosin, turpentine, and Burgundy pitch.
The moulds are taken from patterns, originally executed by the
carver.
[Illustration: COOPER.]