MOUNTING.
The print is often mounted without previous wetting, as this tends to prevent cockling or curling of the support, and is less liable to damage the surface of the print. One way of doing this is to lay the print face down on a sheet of clean paper, holding it firmfy in position with the fingers, and applying the paste rapidly and evenly. Then, before the print has a chance to expand, it is laid on the mount, covered with blotting-paper, and rubbed down as before described, using rather more pressure. Another method, very suitable for mounting glazed or enamelled prints, is to brush over the backs of the prints with a strong solution of gelatine, or glue of a soft and soluble variety. In the case of glazed prints, this may be done while they are drying on the ferrotype plates or glasses. When dry, the mount is slightly clamped with water which is just warm, the print laid on it, and the two passed together through a burnisher or rolling press, with a good deal of pressure.
This system effectually prevents cockling.
Day MOUNTING WITH HEAT.
Shellac dissolved in alcohol or methy lated spirit, to the consistency of thick cream, is excellent for dry mounting. The solution is brushed evenly over the backs of the prints and allowed to dry. The print is then adjusted on the mount, a sheet of clean, smooth paper placed over it, and a hot iron applied with gentle pressure. This has the effect of melting the shellac and ensuring the perfect adhesion of the print to the mount, without any trace of cockling. The iron should not be too hot ; and it is only necessary to pass it two or three times over the print. The shellac solution may also be used for mounting in the ordinary way, if the operation is clone quickly, so that the spirit does not have time to dry before rubbing down. This method is well adapted for very thin mounts.