[Illustration: Fork. Vent Wire. Sleeking Tool. Rasp. File. Vice. Pincers. Hammer. Double-headed Knife. Saw. Drawing Knife. Knife.] The completed castings are now removed to the chasing-room, where we may watch the gradual process of beautifying to which they are subjected, and the sharpening of the ornamental details by means of _tool_ and _graver_, in a similar way to the first rough “laying-out,” which removes the irregularities of the pattern. The arms and branches which form a part of the gas chandelier work, as well as many of the scroll-work ornaments, are cast in halves, which are taken to the soldering-room, where a workman, seated at a forge-like furnace, heats them in the burning embers, and applies to the edges the solder, with which is mingled a flux of borax and water to secure its melting. The heat is increased by a blowpipe, which is in reality a double or jacketed tube, the inner one supplying gas, and the outer being connected with a large pair of bellows, and mixing atmospheric air with the lighted gas at the point of combustion. The pickling room is a large shed-like place filled with tubs, troughs, and earthen pans. Into one of these, containing diluted aqua-fortis, the metal is plunged for the purpose of removing the scale produced on the surface by the action of the fire; from this it is dipped in a stronger solution, to undergo the process called “fizzing,” and its final baptism in pure acid restores the beautiful primrose colour which properly belongs to it. It is still dull, however, and goes to be “scratched,” an operation effected by means of a revolving wire-brush, turned by a wheel and treadle, and kept continually wet with water. The ornamental processes have next to be considered, and these are many. Previous to burnishing, the work is dipped in argot or tartar (the lees of wine-casks steeped in water), so that it may be subject to a strong antioxyde. The burnishing itself produces those bright veins and ornamental surfaces so often seen in brass work, and is effected by fixing the work in a vice, and rubbing the parts of the pattern which are to be brightened with a steel tool having a smooth bevel edge. After being treated with ox-gall, bean flour, and acid, to remove any still adhering grease, the work is dried, by being first dipped in hot water and afterwards buried in a pan of warm sawdust. Then there is lacquering, both black and white, a simple process enough, since the lacquer is laid on with a brush, and the work dried on a warm plate. Much of the work of the Brassfounder, as far as regards these latter operations, is of course effected by machinery, but the casting itself is entirely completed by the skill of the workmen. [Illustration] THE GILDER. [Illustration: A Gilder’s Workshop.]