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Preparation of Armenian Bole



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Brother Jack and I have argued similar points off-line before, so he
won't mind if I disagree with him, once again.

Dolores says she wants to gild on panel. Unless you are gilding on a
flexible page there is no reason whatsoever to use Cennini's recipe.
See my article, "Gold Standards," of 1984, conveniently available...but
I digress. White lead is extremely dangerous, and in this case, totally
useless.

Dolores, if you want to gild on a wooden panel you can build up thin
coats of bole with a gelatin binder, then gild the surface at your
leisure, with glair as a binder (or water mixed with glair; or
alcohol). Unless you're lazy like me, in which case you can simply
place the gold leaf on still-wet glair on top of your gessoed surface.
The burnish gets a bit too strong, though.

It's an easy procedure - which Cennini's is not - and you can find a
brief description in Ralph Mayer's "The Artist's Handbook," or a more
complete one in Daniel Varney Thompson, Jr.'s "Practice of Tempera
Painting."


Paul T Werner, New York
http://theorangepress.com

WOID: A journal of visual language
THE ORANGE PRESS, publishing "Vellum Preparation: History and Technique"
DRAGONSBLOOD AND ASHES, a project to research and practice the
techniques of the medieval scribe

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