Series editors' preface - Wood Tools

Figure 14.12 Manipulating the gold leaf on the
cushion with a gilder’s knife
(Figure 14.12). It can be degreased with
alcohol and then rubbed with whiting. It
should be sharp enough to cut the leaf rather
than tearing it, but not so sharp that it will cut
the cushion. To cut the leaf into the required
size, lay the cutting edge of the knife over the
gold and push the knife forward a little and
then pull it back in one even stroke, keeping
the cutting edge flat on the cushion all the
time.
When the leaf has been cut to the required
size, place the knife between the ring and little
finger of the hand that is holding the cushion.
Pass the end of the gilder’s tip lightly across
the lip salve on the cheek or wrist and pick
up the leaf swiftly, by positioning the tip
directly over the leaf and placing the end of
the tip onto the leaf. Place the tip with the
adhering leaf between the first and second
fingers of the hand holding the cushion. Take
the mop from the gilding water, wet the clay
with an even unbroken film and return the
mop to the jar of water (Figure 14.13). Take
the tip with the leaf attached in the right hand
and apply the leaf to the water on the work.
A sure gesture without hesitation is required.
This will have the ‘wind’ against the face of
the leaf so that the tip can push it into the
work without getting wet (Figure 14.14).
Pick up the next piece of gold leaf, wet the
surface up to the edge of the previous piece,
and apply in the same way but allow it to
overlap the last piece. The amount of overlap
varies; in nineteenth century English and
French work the gilding is very precise, the
overlaps are usually no more than one-
Introduction to traditional gilding 659
Figure 14.13 Applying gilding ‘water’ (thin rabbit skin
size) to gesso repair in preparation for laying gold leaf
Figure 14.14 Laying gold leaf (water gilding)
sixteenth of an inch (about 1.5 mm) and the
lay lines are very regular. Spanish and Italian
gilding may have overlaps of up to onequarter
of an inch (about 6 mm) and the
laying of the leaf is far less precise.
Once five or six pieces of gold have been
laid in this manner, pick up a piece of dry
cotton wool or a dry squirrel brush with a flat
end (known as a dabber) and press down the
first piece of gold that was laid in order to
remove any air trapped underneath the gold
(Figure 14.15). The time to do this is when
the gilding water has been absorbed into the
preparation but when the clay is still damp
enough for the gold being pressed down to
stick to it. If size water seeps through the gold
when damping down go back to the work
when it is a little drier. If the work is too dry
the gold trapped above the air bubble will