Before laying on the gold, the bolused edge is brushed down with a hard clothes brush to remove all hair, dust, &c. Glair is now liberally applied with a thick hair brush, laying it on separately for each strip. The gold is now lifted from the cushion with the gilder's tip so that it very slightly projects over the end of the brush and is transferred to the wet edges. The tip is brought to within 1 cm of the surface of the edges and with a quick motion the whole surface of the gold is at once brought into contact with the glared edges, which will instantly take it up quite greedily. The gold slightly overlaps on to the inner boards. In this one continues, preparing the edge for each fresh strip and lying on each strip so that it slightly overlaps the other until the whole length is covered with gold. If the gold should be injured in any way, the press must be tilted so as to allow a little glair to run under the gold to the spot and then a larger piece is laid over the faulty place. When it is seen that all parts are completely covered, the press jack is put aside, the press is taken by the screws between the beams and raised high overhead so that the gilded part is turned downwards. One end is carefully lowered until the glair has run to one side and dripped off. As soon as the greater part of the moisture has been removed, the press is either placed upright with the edge to the wall and head downwards or it is laid across the table where it will not be disturbed, with the head of one screw on the table edge. In this way the moisture runs off quicker, as the whole length of the edge drains together. When dry, the edges are burnished, and it is in seizing the right moment to do this that the clever finisher shows his skill. The first test is made on the boards. If the gold comes off on scratching the portion on the inner board with the finger nail, the edge is still too damp; if the scratching makes it shine, it will be all right. The experienced worker can trace the progress of drying with more certainty by breathing on the edges; the slowness or rapidity with which the breath disappears points to the dry or moist state of the edges.

When it is believed that the proper degree of dryness has been obtained, the edge is polished with a burnished. A piece of tracing paper which has been 'waxed on the upper side-that is, the side next the burnisher is laid on the fresh edge to protect it from injury. The burnisher is then worked crosswise, stroke by stroke, over the paper (through which the edge can be observed) the length of the edge; if it is noticed that gold and moisture adhere to the paper near to the boards, the work must be laid aside to wait a little longer. If, however, the whole process has gone on satisfactorily, the edge is gone over with a linen rag and a little beeswax. It is not at all better to use a silk rag instead of linen, for it happens too easily that tiny threads stick to the gold unnoticed and are afterwards rubbed into the edge. After going over the edge with the axed rag, the bare edges may take a greater pressure in burnishing, and if no flaws are now perceptible there need be no hesitation in burnishing with very strong pressure. The burnisher must be held quite level, the long handle fixed against the shoulder and the lower end firmly gripped with both hands just above the metal fastening. The fore edge of the burnisher is not to be held parallel too the sheets, but must be at a slight angle; it thus slips better over the paper and there is less danger of making rills and furrows, and the polish is obtained more rapidly. Flat edges are always burnished crosswise, but at the end a broad burnisher may be used for going over the edges lengthwise with a few slow, firm strokes, so as to ensure a very level surface.

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