Gilding

Many people hesitate to use gold leaf because they think there is only one period way to do it, and that is by using poisonous white lead mixed with slaked plaster and a few other ingredient s to make gesso sottile, which is difficult and time consuming to prepare. In period there were actually a number of alternativ e ways to apply gold leaf to manuscript pages. These alternativ e methods are not only safe, but can often be done very quickly, a boon to the "comba t" scribe working on a deadline.

All the tastes and purposes that medieval painting served made the use of metals an integral part of its technique. Of all metals used in period illumination, gold was the most significant. Not only for its associations, its power to suggest richness and splendor, not only for its color, not only for its luster and permanence, but for all of then together.

Although numerous books, both theoretical and practical, have been published on the subject of bookbinding and the conservation of archival materials, there would seem to be a need for one that approaches the subject by examining the meaning and usage of the many terms, expressions, and names pertaining to the various subjects.

Although this dictionary is intended first and foremost for those actively involved in one or more aspects of the overall field of bookbinding and book conservation, it is perhaps no less intended for those working in related fields where the many terms and expressions relating to the overall field may be less familiar and even more confusing.

The full text of the English translation, featuring recipes for artists' supplies, and instructions for techniques.

Gilding is not as difficult as it first appears, and the results are well worth the effort. This article is the result of several years' experimentation with gilding, so you'll be able to pick up in a few minutes the tricks it took me years to learn.

Class handouts designed for the beginning illuminato r, or one who has never tried gold leaf before. Two methods will be explored, using both a modern substitute adhesive for raised gilding, and a period glue for flat gilding. Binder, adhesive, mordant— terms used interchang eably for the glue used to attach metal leaf or powder to paper or vellum ground.

A short history of medieval illuminations in books with the various characteristics and colors of each periods; instruction on the actual making of illuminated paintings. It describes the best paper, how to trace the picture and lay it down, how to make raised beds for gold and the proper burnishing methods, how to lay down the color washes and subsequent tints and just about everything you need to know and don't find in modern books.

The only way to achieve a mirror polish with gold leaf is to apply something on top of your paper or vellum to smooth out the surface so that the gold leaf will not mimic the imperfections. Gesso is a time proven way to do this.

See how a 15th century Italian altarpiece was made. This interactive website discusses the making of an altarpiece by the Florentine artist Rosello di Jacopo Franchi.

Includes recipes and instructions for drawing charcoal, gesso, a gilder's pad, glair, gum ammoniac, gum arabic, hide glue, iron gall ink, lampblack ink, shell gold, slaked plaster, and walnut ink.

The materials and equipment needed for raised gilding, and the steps of raised gilding.

A non-profit educational organization devoted to the art and craft of gilding.

Who kane wyesly considere the nature of his colours, and kyndely make hys commixtions with naturalle proporcions and mentalle indagacions, connectynge fro dyvers recepcions by resone of theyre naturys, he schalle make curius colourys, etc.