again touched. It is a good practice to allow the work to stand a day or two between the applications; then the japanners' gold-size may be added, and touching with the finger as before described will indicate the proper state for applying the gold, whether in leaf or powder. Either may be employed; but in the case of colours being intermixed and subsequently varnished, the powder is usually adopted; it is easily laid on by means of a camel-hair brush, the work being set aside to get thoroughly dry, when the superfluous metal is removed with a soft brush. In case more size should have been prepared than is needed, the remainder, if water be poured over it, will keep for future use. [122] The superiority of the Chinese and Japanese varnishing is chiefly owing to the excellence of a particular species of resin found in China and Japan. The varnishes made with oil are longer drying than those made with spirits of wine, but are of greater durability. The spirits of wine should be highly rectified: if oil is used, it should be linseed. It is safer to purchase the varnish ready prepared than to attempt the making of it, as the solution of resin, particularly in oil, is somewhat dangerous. End of the Project Gutenberg EBook of The History, Theory, and Practice of Illuminating, by M. Digby Wyatt