i 4 4 
RERAMIC STUDIO 
pression deepened, and the lines are run with a roulette or 
wheel (see Illus. No. 20) , first going over them with a straight 
edge and sharp wet folder to give a guide for the roulette. 
In gold tooling the design is gone over several times with 
vinegar, and with a substance called "glaire" made from 
white of egg, which makes the gold stick. The gold is lifted 
from a cushion on which it is laid, with a little padded gold 
lifter, and dropped on to a small part of the design, into 
which it is gently pressed with a ball of cotton. The tool 
No. 17— Nouvelles Observations at Conjectures sur 1'Tris. Bound by he Gascon. 
Example of beautiful gold tooling. Courtesy Chas. Scribner's Sons 
cut to order. The design is stamped on the paper with the 
tool moistened with India ink on a pad. The paper with 
the completed design is then attached to the leather with 
a little paste and the first impression made through the paper 
with a hot tool. The paper is then removed and the im- 
No. 19— De Rebus JapOnicis. Bound by Nicholas or Olo.i.s Eve. Example of allover 
pattern in gold tooling. Courtesy Cluis. Scribner's Sons 
is then put on warm, exactly in the former impression, the 
heat makes the gold stick to the design, but it can be rubbed 
off the surrounding part. Sometimes it is necessary to go 
over the design two or three times. 
/f ° o U rt-a " or yv/lcc./ fc,7- 7rt£/i?7i% s/y4/zAf //'rr 
No. ls — Livre Curiieux et Utile, pour les Artistes, Example of rich but simple 
ation. Courtesy Chas. .Scribner's Sons 
No. 20 
Lettering is done in gold in the same way, each letter 
being stamped separately in the best work, although main 
binders set up a "stick" of letters in a frame like type. 
