Series editors' preface - Wood Tools

eflective shine, whilst oil gilding cannot. Oil
gilding can be used on porous and nonporous
substrates such as wood, metal,
plastics or stone. Oil gilding is used for
exterior work because of the water-resistant
nature of the oil mordant. It is used for gilding
areas when the labour costs associated with
water gilding would be prohibitive (for
example interior architectural work) or when
the style or decorative scheme of a piece
demands the lustre of oil gilding, which differs
from that of water gilding. Oil gilding is also
used where the degree of very fine detail
would make water gilding impractical.
The appearance of water gilding will be
affected by the use of different coloured clays
in the bole layer and the use of different
colours and alloys of gold leaf. The gold leaf
is so thin that it is translucent and if a single
leaf is held up to a light source such as a
candle a slight green–blue tinge may be
observed. This translucence means that the
colour of the bole underneath will affect the
perception of colour of the gold leaf. In
addition, gold is often abraded (by age or
intent). Gilding is seldom absolutely complete,
so bole often shows to a limited or large
extent. Thus both bole and leaf must be
matched to the original if a restoration repair
is made.
Prior to gilding, the ground was worked to
give varying decorative effects to the finished
gilded surface. These effects vary according to
regional differences in the nature and application
of the gesso, styles of gesso recutting
and the tools used, the use of effects such as
pastiglia, pressbrokaat, the use of composition
and other moulded and applied ornament as
well as applications to the surface of the gesso
such as sand, poppy seeds, shell and various
types of woven netting. The application of
these techniques creates a decorative effect by
enhancing the play of light over the surface.
The variations in reflectivity thus produced
give the visual illusion of a greater depth of
form in the decorated surface.
Once water gilding has been laid the
appearance can be further modified by
techniques such as punchwork, scraffito, variations
in lustre (matte/burnish) or by the application
of coloured glazes. The application of
glazes to create decorative effects is called
lustrework. The subsequent application of
Introduction to traditional gilding 643
toning layers was also used to enrich the
depth and contrasting lustre of the gilded
surface. Thus each stage of the gilding
process, from the preparation of the ground to
the treatment of the gold, plays a vital part in
the appearance of a gilded object. The appearance
is further modified over time by ageing
processes, including wear resulting from use
and historical restoration or regilding treatments.
Although conservators may be confronted
by the need to repair gilding on furniture,
there are comparatively few reliable guides to
the gilding process. Cennini’s fifteenth century
Florentine text (trans. Thompson, 1954), Watin
(1755) and Thompson (1956, 1962) provide a
fascinating insight into historical materials and
techniques. Other texts and articles on
methods and materials include Scott-Mitchell
(1905), MacTaggart and MacTaggart (1984) and
Wetherall (1991a). Green (1991) described the
traditional method of gilding spherical balls.
Cession (1990) and Koller (1991) discuss the
eighteenth century practice of embellishing
baroque gilded decoration with coloured
varnishes. Powell (1998) examines historical
sources and compares English and French
gilding techniques.
14.1.2 Tools for gilding
As with gilding practice, the tools used by
gilders vary according to personal preference
and training (Figure 14.1).
The gilder’s cushion is a hand-held leather
pad onto which loose leaves of gold are
Figure 14.1 A range of tools and materials that may
be used in traditional gilding