Writing & Illuminating, & Lettering

LAYING THE GROUND

Drawing the Form.—Elaborate letters or ornaments may be drawn with a hard pencil, which will leave slight indentations in the surface of the page when the marks of the lead have been removed with indiarubber. In the case of free lettering or gold writing, however, the forms should be made directly with the pen (see pp. 148, 164).

Preparing the Surface: Pouncing.—The surface is thoroughly cleaned and prepared with powdered pumice stone, or other suitable “pounce” (see pp. 167, 174). This being rubbed well into the actual part which is to take the size absorbs grease and slightly roughens28 the surface. The surrounding parts are also pounced to prevent the gold-leaf from sticking to them later.

Composition of the Ground or Size. The chief [p147] substance in a “size” or raising preparation is generally some kind of earthy matter, to give it body. Other substances, having toughness and stickiness, are used to bind the earthy matter and prevent its breaking when the page is turned over or bent, and also to make the size adhere to the page and the gold-leaf stick to the size. Yellow or red colouring matter is often added. A preservative, such as oil of cloves—in a minute quantity—may be present: this will permit of the size being kept in a semi-liquid condition, in a closed jar.

The following recipe was given to me by Mr. G. Loumyer:—

• “Chalk (Whiting).
• Oxide of Iron—12 grain.
• Glue (Carpenter’s)—4 grains.
• Gum Arabic—2 grains.
• Water—50 grains.

Mixing the Size with Water.—A little of the size, taken from the jar (see above), is put in the saucer with a few drops of water to soak for an hour or two. It is then rubbed down with a finger-tip, care being taken to mix it very thoroughly and to avoid making bubbles. The right consistency is judged by experience—it should be thick rather than thin.

It is essential that all the ingredients be present in their right proportions, and the mixture should be stirred every now and then. Otherwise the earthy [p148] matter settles down, and the sticky parts, remaining in solution above, are liable to be used up. What is left in the saucer after use is apt to be deficient in its sticky parts, and it is best thrown away. Take out of the jar only what is required at the time, and mix a fresh lot the next time.

Bubbles, formed in the mixture, may be burst by a needle, or by adding a minute drop of oil of cloves.

Methods of Laying the Size.—The parchment or paper is laid flat on a table; if on a slope, the size would run down and lie unevenly. A quill pen with a finely cut nib and an extra long slit (about 58 inch) is used for laying the size. It is filled pretty full by means of a quill or a brush; if by the latter, special care must be taken to avoid bubbles.

Experiments should be made in various methods.

I. Perhaps the best way of laying the size, so that it may set properly and that the burnish may retain its brilliance, is to put on a thin coat with a pen—in the direct manner in which coloured Versals are made (q.v.)—and afterwards add two or three thin coats, allowing each coat to dry thoroughly. This requires considerable patience and skill, as it takes a long time, and there is a danger, in adding several coats, of spoiling the form by going over the edges.

II. The simplest method for ordinary gold letters is to make them with one extra thick coat29 of size, exactly like coloured Versals—first a natural pen outline, and then the filling in (see fig. 81). This requires some practice to do well, as the thicker size is more difficult to manage than the [p149] colour.30 Very narrow parts—such as the thin strokes—are apt to be deficient in size, and therefore, while they are still wet, the pen—held nearly vertical with the nib in contact with the surface of the size—is moved slowly along it until the stroke has received sufficient size and is properly filled out.

III. A method that may be found more convenient for heavy forms, is to hold the pen across the form to be gilded (which has previously been marked on the parchment) with its nib resting on the further outline (a, fig. 97). The nib being moved along that line, by contact with the parchment restrains the size from passing beyond it, while allowing it to flow out freely behind and below (a, 2). The opposite side is similarly treated, and, if the form be narrow, the size as it flows out blends with that already laid (b). The ends of the form are finished in like manner (c). [p150]

The angle of the pen with the parchment is less for a wider form (b, fig. 98).

As a general rule the size should stand pretty high when wet; it shrinks in drying, and, if it forms too thin a coat, it will neither hold the gold-leaf fast nor burnish well. While the size is still wet it is easy to raise it to any height desired by running more size into the form in the manner described above. It is well, however, not to raise the size too high, as burnished gold too much raised looks out of place on a page and has a heavy and vulgar appearance (p. 184). Very high raising also does not dry so well, and when dry it is more liable to chip.

The work of laying the size should be carried out as quickly as possible. If one part of the form is left any appreciable time before the remaining parts are sized, the first part will begin to settle and dry, and the different layings will not blend or lie evenly. Though the size is thick and awkward to use at first, a little skill will coax it quickly and evenly out of the pen, and it will all blend and dry with an even surface.

When it is sized, put the work away to dry in a [p151] drawer or safe place where it cannot be smudged or get dusty.

Drying the Size.—The average time allowed is twenty-four hours, but it varies with the weather and the temperature; damp weather may make a longer time necessary, and dry weather or heat will shorten the time. The thickness of the raising affects the time very much; a very thin coat will dry in an hour or two, while an extra thick coat may take several days. Size not dry enough is too sticky to burnish; if too dry, it is so absorbent that it sucks up all the moisture which is breathed on it. To ensure the gold-leaf’s sticking thoroughly, it is safer on the whole to gild the size while it is still slightly damp, and delay the burnishing till it is drier.

The time to allow and the right condition of the size for gilding can only be accurately judged by experience.

LAYING THE GOLD-LEAF

Note.—In illuminated MSS., in order to avoid risk of injury to the gold it may be laid last of all (see pp. 170–1). The inexperienced illuminator, however, may find it better to follow the easier method of finishing the gold before applying the colours.

The process of gold-laying must be carried out steadily and quickly; all the necessary tools, &c., should be ready to hand (see p. 145).

The Gold-Leaf.—This is sold in books of twenty-five leaves. The ordinary leaf, about 314 inches square, consisting of gold and alloy, is said to be beaten out to less than 1200,000 inch in thickness. As gold sticks readily to gold, especially when very thin and liable to wrinkle and fold over, or to paper, red [p152] bole or ochre is scattered between the leaves of the ordinary book. This powder will come off on the work and give it an ugly colour, when burnishing, unless it is dusted off very carefully.

It is better to get gold “double” (or “quadruple”) the ordinary thickness, specially prepared for fine work such as illuminating, quite pure, and put up in white books (without bole).

Cutting the Leaf.—With the scissors, which must be quite clean and sharp (or else the gold will stick to them and tear), cut a whole or half leaf of gold, together with the paper leaf on which it lies, out of the book.

The gold is cut on one paper (fig. 99) (not between papers, for then it would stick and tear), and the cut edges of the paper and the gold stick together slightly. If the edge of the gold is anywhere loose and apt to flap about, it and the corresponding paper edge can be nicked together with the scissors (fig. 100). The gold-leaf being lightly held to the paper in this way is easily handled.

A piece of gold, about 18 inch larger all round than the form to be gilded, is cut from the leaf in the manner described above (a, b, fig. 100). Except in the case of a very large form, it is not worth trying [p153] to save gold by cutting it out in the same shape. Square, oblong, and triangular shaped pieces are suitable for ordinary use; these are laid in a convenient place—the edge of a book cover will do very well (fig. 101)—ready to be picked up at the right moment.

The burnishing slab (a flat piece of vulcanite, celluloid, or metal) is placed under the page to give it a hard, firm back, which will make the pushing and rubbing of the burnisher effective.

Preparing the Size.—If the size has dried rough, it may be lightly scraped with the pen-knife—removing as little as possible of the surface, in which the essential stickiness frequently seems to be concentrated. [p154]

Ordinarily a form should not require trimming, though if its edges have accidental roughnesses, these may be trimmed a little with the pen-knife.

Damping the Size.—The breathing tube is about 12 inch (or less) in diameter, and 6 inches or more in length; it may be made of paper or cane. One end of the tube being lightly held between the lips, the other is moved about over the size, which is gently breathed upon (fig. 102). The breath condensing on the surface of the size, moistens it and renders it sticky. The amount of moistening required depends on the condition of the size.

Care has to be taken that the breath does not condense in the tube and drop on to the work.

Laying the Gold-Leaf.—Immediately that the size has been sufficiently breathed upon, the piece of paper with gold-leaf adhering (held ready in the right [p155] hand) is placed upon it, gold-leaf downwards, care being taken to place it steadily down, and not drag it across the size (fig. 103).

The Rubbing Paper—a convenient piece of thin but tough paper (held ready in the left hand)—is immediately laid above the gold-leaf paper, and is then rubbed over firmly with the finger-tip, in order at once to attach the leaf to the size (fig. 104). It is then quickly rubbed with the soft pencil [p156] or chalk till the raised form underneath is indicated on the surface of the paper (fig. 105).

These two operations may be combined by having a little blue chalk either on the finger-tip or on the upper surface of the rubbing paper.

Round the outline of this form the point of the burnisher31 is worked, pressing the gold-leaf firmly—through both the papers—against the size, in the angle formed by the size and the surface of the parchment (fig. 106).

The fore part of the burnisher is then passed rapidly all over the rubbing paper with a firm pressure (fig. 107).

The rubbing paper and the other paper are picked off, and an experienced eye can usually tell if the gold is sticking properly by a peculiar, smooth appearance which it then has.

Several Letters or Forms which are close together may be gilded simultaneously—with one piece of gold-leaf—as if they were one complex form. This saves time, but if too many forms are gilded together, some of them are liable to be less thoroughly and effectually treated.

Small Scattered Forms (dots, &c.).—For these the gold-leaf may be cut into a sufficient number of little pieces, which are allowed to fall (gold side downwards) on a sheet placed to receive them. [p157] They are picked up separately by means of a needle stuck into their backing-paper.

Additional Coats of Gold-Leaf.—A second leaf of gold may be laid on immediately on the top of the first; this will ensure richness and facilitate burnishing. Additional leaves may be laid after burnishing, but, unless the first gilding is absolutely clean, there is a risk of the second leaf peeling off when re-burnished. [p158]

BURNISHING THE GOLD

The Burnisher.—A tooth-shaped agate burnisher (fig. 108) is commonly used.

The point is used for pushing the leaf into angles and for burnishing angles (a).

The fore-part for general burnishing (b).

The bend for cross-burnishing and for angles (c).

The side for very gentle and light burnishing (d).

The burnisher is kept scrupulously clean, and to ensure this it is frequently rubbed on a cloth.

Dusting off the Pounce.—The edge of the parchment may be tapped smartly on the desk to shake off the pounce, and a feather or a soft handkerchief may be used, care being taken not to brush the pounce over the gold. [p159]

Brushing off Waste Leaf.—The superfluous gold round the edge of the gilded form may be lightly brushed off with the tip of the brush. This may be done after or before the burnishing—preferably after (see p. 170).

Any gold which may have stuck to the surrounding parchment, in spite of the pouncing, may be removed with the knife or with the hard indiarubber point, great care being taken not to touch the gilded size.

Burnishing the Gold.—The gold-leaf may be burnished immediately after laying when the size is very dry, but it is safer to wait for a quarter of an hour—or longer, if the size is at all damp (see Drying, p. 151).

The slab is again put under the work, and the burnishing is begun very gently and cautiously: should the burnisher stick in the very least, it is instantly stopped (or else the gold will be scratched off), examined, and cleaned.

The first strokes of the burnisher are generally carried all over the work, very lightly and with a [p160] circular movement (fig. 109), till the gold begins to feel smooth, and the matt surface gives place to a dull polish.

As the gold gets smoother a little more pressure is used, and the burnisher is moved in straight lines in every direction across the gold (fig. 110). At this point the gold should have a peculiar and agreeable feeling of smoothness under the burnisher, an unmistakable sign that all is going well.

A rapid light polish with the bend of the burnisher across a gold stem will give a very good finish (c, fig. 108).

Properly burnished gold in a right light is at first as bright as a mirror, and in some lights may look [p161] quite dark by reason of its smoothness. A piece of white paper may be held at such an angle that the white light from it is reflected by the gold; this will show the quality of the burnish, and also show up any brown spots which the leaf may have failed to cover. It is helpful, moreover, during the actual process of burnishing to have a reflecting paper folded and standing beside the work (fig. 111).

At first the size under the burnished gold is not thoroughly hardened, and great care should be taken of it (not to breathe on nor finger the gold in any way, nor allow it to lie about and get dusty). It is best to put it away safely in a drawer for a week or two.

After a week or fortnight, when the size has set a little more, it may be very gently re-burnished, and this may be done again at the end of another [p162] fortnight. This final burnishing, when the size is nearly hard, will give it a very lasting polish. It is well, however, to take every care of burnished gold, and to secure it from risk of damage as soon as may be. Illuminated miniatures were often protected by a piece of silk between the leaves—and this should be done now, in the case of fine work. That a bound volume protects the burnished gold within it is proved by the large number of MSS. in which the gold, laid and burnished 500 years ago, is in perfect and brilliant preservation.

REMEDYING FAULTS IN GILDING

To lay and burnish gold satisfactorily requires considerable experience. Careful practice with a good “size” will overcome the chief difficulties: these, and their probable causes, are here summarised:—