IVORY CARVINGS 87 



ward, and inverting the ivory to cut the sides of the lower 

 half of any oval. No cutting across the grain should be 

 attempted by an inexpert person.* 



Having the ivory set into the frame, a proper backing 

 becomes necessary to hold it in its place. For this a piece 

 of aluminum cut to fit the frame is the most serviceable of 

 light metals. By laying a piece of very thin paper, larger 

 than the frame, across the back, and pressing the aluminum 

 back-plate into the bezel, a firm hold is assured. Square 

 or oblong ivories are best secured by dispensing with the mat, 

 placing a sheet of good quality mica behind the paper back- 

 ing and sealing the edges with gold-beater's skin (so-called 

 *' skin-plaster"). The use of photographer's slide binder is 

 also entirely safe. The sealing should be perfect, to prevent 

 the imperceptible moisture of damp weather finding its way 

 under the glass. Experience has shown us that while an 

 ivory will not deteriorate on account of moisture, the inside 

 of the glass covering will in time show fogginess, though not 

 in so great a degree as do daguerreotypes, where the glass 

 and the metal are more active in collecting a chemical 

 deposit under the glass. 



CARE OF PAINTINGS ON IVORY 



The above final remarks remind us that an ivory painting 

 should not be exposed to sudden changes of temperature. 

 A cold piece of glass will immediately attract and condense 

 any latent moisture. It will draw it in under the framing 

 and will hold this moisture for many days. Sunlight would 

 bleach most colours more or less, no matter what make and 

 whether they be oil colours or pastels, let alone water- 

 colours of delicate, pellucid gradation, with practically no 

 body strength. Miniatures kept in the ordinary light of 

 our homes will last indefinitely. There is nothing in their 



*A11 thick ivory is best cut with a jeweller's saw. 



