Gilding, Et Cetera
Very rich effects may be produced both in external and internal decorations by the judicious use of overlays of gold or silver. In their application, however, it must always be borne in mind that they are metals, not paints, and they should only be used in positions such as would be appropriate for the actual metals. Dutch metal and other imitations cost about one-third of the price of genuine gilding, and require to be protected from oxidization by a coat of lacquer. Gold leaf is affixed with gold size or other adhesive preparations. The best and most durable work is oil gilding, which involves less labor, and results in a richer appearance than other methods. The work is usually primed first of all with a solution of boiled linseed oil and white lead, and then covered with a fine glutinous composition called gold size, on which, when it is nearly dry, the gold leaf is laid in narrow strips with a fine brush, and pressed down with a pad of cotton-wool held in the fingers. As the slips must be made to overlap each other slightly to ensure the complete covering of the whole surface, the loose edges will remain unattached, to be afterwards struck off with a large sable or camel-hair brush.
The joints, if the work be skillfully executed, will be invisible. For burnished gilding the work must be covered with various coats of gluten, plaster and bole, which last is mixed with gold size to secure the adhesion of the leaf.
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