Encollage, Or Glue Coat

To a decoction of wormwood and garlic in water, strained through a cloth, a little common salt and some vinegar are added. This is mixed with as much good glue, and the mixture spread in a hot state with a brush of boar's hair. When plaster or marble is gilded, leave out the salt. The first glue-coating is made thinner than the second. 2. White preparation consists in covering the above surface with 8, 10, or 12 coats of Spanish white, mixed up with strong size; each well worked on with the brush. 3. Stop up the pores with thick whiting and glue, and smooth the surface with dog-skin. 4. Polish the surface with pumice-stone and very cold water. 5. Retouch the whole in a skilful manner. 6. Cleanse with a damp linen rag, and then a soft sponge. 7. Rub with a horse's tail (shave-grass) the parts to be yellowed, to make thorn softer. 8. Yellow with yellow ochre carefully ground in water, and mixed with transparent colorless size. Use the thinner part of the mixture with a fine brush. 9. Next rub the work with shave-grass to remove any granular appearance. 10. Gold-water size consists of Armenian bole, 1 lb.; bloodstone (hematite), 2 oz.; and as much galena, each separately ground in water. Then mix all together with a spoonful of olive oil. This is tempered with a white sheep-skin glue, clear and well strained. Heat and apply three coats with a fine long haired brush. 11. Hub with a clean, dry linen cloth, except the parts to be burnished, which are to receive other two coats of the gold size, tempered with glue. 12. The surface damped with cold water (iced in summer), has then the gold-leaf Applied to it Gild the hollow ground before the more prominent parts; water being dexterously applied by a soft brush, immediately behind the gold-leaf, before laying it down; removing any excess of water with a dry brush. 13. Burnish with bloodstone. 14. Next pass a thin coat of glue, slightly warmed, over the parts that are not to be burnished. 15. Next moisten any broken points with a brush, and apply bits of gold-leaf to them. 16. Apply the vermeil coat very lightly over the gold-leaf with a soft brush. It gives lustre and fire to the gold, and is made as follows: annotto, 2 oz.; gamboge, 1 oz.; vermilion, 1 oz.; dragon's blood, 1/2 oz.; salt of tartar, 2 oz.; saffron, 18 grs.; boil in 2 English pints of water, over a slow lire, till it is reduced to a fourth; then pass the whole through silk or muslin sieve. 17. Next pass over the dead surfaces a second coat of deadening glue, hotter than the first This finishes the work and gives it strength.

Bronzing Or Gilding Wood

Pipe clay, 2 oz.; Prussian blue, patent yellow, raw umber, lampblack, of each, 1 oz.: grind separately with water on a stone, and as much of them as will make a good color put into a small vessel three-fourths full of size. The wood, being previously cleaned and smoothed, and coated with a mixture of clean size and lampblack, receives a new coating twice successively, with the above compound, having allowed the first to dry. Afterwards the bronze powder is to be laid on with a pencil, and the whole burnished or cleaned anew, observing to repair the parts which may be injured by this operation; next the work must be coated over with a thin layer of Castile soap, which will take the glare off the burnishing; and afterwards be carefully rubbed with a woolen cloth. The superfluous powder may be rubbed off when dry.

Bronze Powder of a pale gold color is produced from an alloy of 13 1/4 parts of copper, and 2 3/4 parts zinc, of a crimson metallic lustre from copper, of a paler color, copper, and a very little zinc; green bronze with a proportion of verdigris, of a fine orange color, by 14 1/2 parts copper and 1 3/4 zince; toother orange color, 13 3/4 parts copper and 2 1/4 zinc. The alloy is laminated into very fine leaves with careful annealing, and these are levigated into impalpable powders, along with a film of fine oil, to prevent oxidize-ment, and to favor the levigation.

Reviver For Gilt Frames

White of eggs, 2 oz.; chloride of potash or soda, 1 oz.; mix well, blow off the dust from the frames: then go over them with a soft brush dipped in the mixture, and they will appear equal to new.