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 Marbles & Marbling. 
 
 
 Eight 
 
 — — ——— 1 — 1 ~ * 
 
 - - - — - 
 
 * Marble 
 
 * * Patterns. 
 
 _ 
 
 By 
 
 W. SUTHERLAND. 
 
 Published by 
 
 THE DECORATIVE ART JOURNALS COY., LTD., 
 
 MANCHESTER. 
 
 SIMPKIN MARSHALL, HAMILTON, KENT, & COY., LTD., 
 LONDON, 
 
THE GETTY RES* 
 
3 
 
 EIGHT MARBLE PATTERNS, 
 
 WITH FULL INSTRUCTIONS HOW TO IMITATE THEM, 
 
 BY 
 
 W. SUTHERLAND. 
 
 Panel Imitation of Brocatelle Violette. 
 
 Previous to describing the method of working to produce a 
 correct imitation, we must clear the way by pointing out what 
 are the principal features of all marbles; what is required in 
 order to make a successful imitation, &§. 
 
 Almost every kind of marble has a distinctive character of its 
 own writ large, if we only understand it; for although there is a 
 difference in the same kind of marble got from different quarries, 
 yet through all these differences there are distinctive features 
 common to all, which serve to show to what class it belongs! 
 This applies, also, in a great measure to the colourings of 
 marbles, there being a marked difference in specimens from 
 different countries and quarries. 
 
 We will now consider what are the essential qualities of any 
 successful imitations, and which qualities are part and parcel of 
 every known marble, a knowledge of those things, and the best 
 method of producing the effects, being indispensable. They are 
 as follows:— 
 
 1. The characteristic markings on veins of each marble. 
 
 2. Depth or transparency or semi-transparency. 
 
 o. An appearance of flatness and hardness. 
 
 4. An even level surface. 
 
 ». Softness of line, even with violent contrast. 
 
 ti. The various peculiarities and distribution of colour. 
 
 • 7. System of working. 
 
 These are all essential points which must be studied and 
 practised in order to produce fae-simile representations, and, as 
 we proceed with our instructions, we shall show how these various 
 effects may be produced with as little labour as is consistent with 
 making a faithful imitation. 
 
 Brocatelle 'marble being one of those which we term crayon 
 marbles (i.i \, marble in which the veins are put in with crayons 
 instead of the pencil) ;<and as the second panel for consideration 
 (Italian pink) is also a crayon marble, we judge it best to give first 
 full instructions for the making of those crayons. This is the more 
 necessary as these crayons cannot be purchased from the artist- 
 eolourmen, being essentially different to those sold in the shops. 
 
 The Making of the Crayons. 
 
 These crayons require great care in the making, and must 
 possess certain qualities, or they will not answer the purpose. 
 They must be hard enough to allow of a certain amount of 
 pressure in the working, and yet soft enough to mark easily. 
 Then it is indispensable that they should leave a vein that will 
 soften and blend under the softener without spreading or smearing, 
 and thus make a blurred tint. Then as to colour; this is an 
 important point also. The crayon, when properly made, is far 
 superior to the pencil, although we do. of course, use the pencil 
 in the finishing of the marbles; with the crayon we can give 
 more variety, and avoid stiffness, for we can work it in all direc¬ 
 tions, thus producing an endless variety of shapes with but little 
 labour. 
 
 List of Crayons Required : 
 
 Black Indian Red. 
 Purple Brown. 
 Deeper Red. 
 
 Light Red I. 
 
 Light Red II. 
 Light Brown. 
 Blue Black. 
 Neutral Green. 
 
 For the making of the coloured crayons we shall require a 
 quantity of the finest washed pipe-clay, which may be purchased 
 from any tobacco-pipe manufacturer. The common pipe-clay used 
 by housewives for whitening the hearth, and sold by most grocers 
 and oil and colour men, will do, but not so well as before- 
 mentioned. The principal crayons required are, first, black, 
 which may be bought of the artist’s colourraan, and in choosing 
 them we select those that are of a dead black, the glazed ones 
 being too hard ; second, a crayon made with Indian red alone ; 
 third, one with Indian red, drop black, and a little ultramarine 
 blue; fourth, one with Indian red, black, and sufficient blue to 
 make a dull purple-brown in use ; fifth, one made from light red 
 (burnt ochre) and a little Indian red; sixth, one made from 
 Oxford ochre and a little Indian red; seventh, ope made from 
 Oxford ochre alone ; eighth, one made with blue-black, a little 
 ultramarine blue, and light red, forming a warm, light, grey vein 
 in working; ninth, a dull neutral green, made with Brunswick 
 green, a little burnt umber, but not sufficient to destroy the 
 green. The above will be all that is required for the veining of 
 almost any and every crayon marble. 
 
 Process of Making. 
 
 The process of making these coloured crayons is as follows :— 
 
 The pipe-clay before named is scraped or crushed to a fine 
 powder, and made into a thick paste with water. To this is 
 added some shreds or scrapings of the common white soap, which 
 is well worked into the paste with a knife. We then add the 
 colours in the shape of a dry powder, or ground stuff, in water. 
 
 We continue adding the dry powder until the paste becomes 
 stiff, about the consistency of dough for bread-making. It must 
 then be well kneaded and worked by the hand, like glazier's 
 Putty. Dry pipe-elay, or fine powder, may be added to facilitate 
 its working and to stiffen it. The composition may then be 
 rolled into a flat cake, about the thickness we want the crayons 
 to be when finished. While it is in this form we cut it into 
 strips about a quarter or three-eighths thick. We now use a 
 flat, smooth piece of wood, three or four inches wide, and with 
 this roll a strip of the paste with it. This gives it a round form, 
 and also makes the crayon more compact and homogeneous. In 
 doing this the board upon which it is rolled should be strewed 
 with the fine dry clay or powder, which prevents it sticking, and 
 also gives them an outside coating of the clay, and adds strength 
 to them. The strips are now cut into convenient lengths: about 
 Hill, is a convenient size for working with; if longer, they are 
 liable to frequent breakage. They must now be placed on a flat 
 board, and so left until they are perfectly dry. Before drying 
 the whole of them, it is always advisable to dry a portion, and 
 make a trial of them. If the crayon crumbles ‘in working, and 
 breaks too easily, more soap must be added ; but if they are too 
 hard, then add. a little more clay and colour. When they are 
 thoroughly hard, they may be squared by rubbing on sand-paper ; 
 but it is not necessary or wise to do this until the crayon comes 
 into actual use, as they keep better as they are. They should be 
 kept in a dry place, and placed in cotton-wool, so as to prevent 
 them getting broken by shifting about. It will also be perceived 
 by the intelligent reader that the depth or strength of colour of 
 any of these crayons will depend upon the amount of colour 
 mixed with the clay, as the clay acts in a great measure as' 
 whiting does when mixed with colour. Any shade or depth of 
 coloured crayon may be made according as the colour or the clay 
 predominates. The soap adds very much as a binding medium, 
 and thus allows a very much greater quantity of dry colour to be 
 used, and yet be fine and hard enough to work with, than if no 
 soap were used. In fact, without the soap the crayons would be 
 useless, as it not only helps to bind the whole together, but 
 causes the lines made on the paint with these crayons to keep 
 firm, and yet soften and blend just as much as is required. 
 
 CHAPTER II. 
 
 The Use of the Crayon. 
 
 Having given a description of the method of making the crayons 
 used in marbling in exactly the same manner I have adopted in 
 my own practice, I have now to describe the manner of using them, 
 and in order to make my description clear, have sketched a hand 
 holding the tool as it should be held in actual work, and also a 
 crayon-holder of the full size, with crayons at both ends. This 
 is the more necessary because many ’students may not have used 
 them, or in fact seen them used in marbling. 
 
 The manner of holding the crayon-holder when in actual work 
 is of more importance than appears on the surface. It requires 
 to be held firmly, but the grip should be light and delicate, so 
 that it can be moved freely up and down, and in every direction. 
 
 It should also be so held that we can regulate the pressure in 
 order to make a light or dark line, a thick or tbin one; if we 
 wish to make a faint line with the same crayon, springing from 
 a broad line, it can be done by simply relieving the pressure 
 required for the dark line, holding the tool lightly between the 
 finger and thumb, and still retaining perfect command, so as to 
 move it in any direction required. On the other hand, if we 
 grasp the crayon-holder as if it were a hammer, and we were 
 driving a nail into wood, it will not be possible to have that 
 freedom of movement so essential to the work in hand. 
 
 There is another all-important matter in the study of the 
 subject, and that is the study of the general form or run of the 
 veins, and the shape of the patches or broken lines inclosing the 
 patches of colour. It should be always borne in mind that there 
 is, so far as my knowledge goes, neither a round, a square, nor 
 oval in any marble; the nearest approach is contained in what 
 
4 
 
 are called fossil marbles—that is, marbles of which fish bones 
 and shells form the features ; but even in these the above forms 
 are not perfect. Some marbles, especially the beautiful Breche 
 marbles, show certain differences both in form and colour, and 
 are all distinguished by a broken, angular, and sharply defined 
 form of veins. These veins cut up large forms into small ones, 
 and I give a sketch of the characteristic features, with the object 
 of impressing upon my readers the absolute necessity of becoming 
 acquainted with the various forms of each v class of marble. 
 
 The Advantage of Crayon. 
 
 It will be observed that the Breche marble, to. which the above 
 belongs, has a broken appearance, which feature is common more 
 or less to all this class or kind of marble. The straight lines and 
 sharply angular patches are peculiar to these marbles, and divide 
 them from the class to which Siena, Brocatelle, and others 
 belong. These differ more or less, according to the quarry they 
 are got from; but, like Breche marbles, they have a strongly 
 marked character of their own, as shown by the sketch. 
 
 In this class of marbles we see that the veins take quite another 
 form to the previous sketch. There is none of that sharp angu¬ 
 larity as seen in the Br&ehe marbles, no harshness in the lines, 
 but they are soft and irregular, and broken with indentations, and 
 hardly a line of an inch in length that is straight or approaching 
 straightness. If the student has these differences in form 
 impressed firmly on his mind, he will have accomplished half the 
 battle. 
 
 No Waste in the Crayons. 
 
 In the sketch of the crayon-holder, the ends of two crayons 
 will be seen in solid black. These I have sketched in order to 
 show how small a piece of crayon is required to work with 
 without danger of breakage, and it also serves to show that the 
 smallest pieces of these crayons may be worked up, and so waste 
 be avoided ; and even when the crayon is too short for working 
 with, by adding two or three ends together, crushing* them 
 afterwards, then moistening them with a little water, they may 
 be again used, so with a little care there need be absolutely no 
 waste. I may say here that a piece of these crayons three- 
 quarters of an inch long will do an astonishing quantity of work. 
 
 It will not be out of place to point out that much of the success 
 of any imitation of marbles is due to their being done upon a 
 level surface, not necessarily extraordinarily smooth, but level. 
 In getting up the grounds great care should be taken to fill up 
 and make level the wall or panel by filling up and stopping, 
 either in quick colour or in distemper, and rubbing down. If 
 this is properly done, and the hills and valleys made even, it will 
 add very much to the value of the quality of the work when 
 finished. All grounds for crayon marbles must be finished in flat 
 or dead colour, and stippled. This gives a key upon which the 
 crayons bite easily, which they will not do on a smooth surface 
 such as oil-colour. 
 
 The Marbling. 
 
 Having cleared the way so far, I will now proceed to describe 
 the Broeatelle-violette marble. In this series of panels I have 
 endeavoured to make them as useful a selection as possible, and 
 those of them which are representations of two or three marbles 
 inlaid will, I doubt not, prove valuable guides to work from. 
 Brocatelle Violette. 
 
 Brocatelle violette is found in the neighbourhood of Molinges 
 (Jura). It has something of the same form as the Spanish 
 Brocatella, and differs from all other Brocatellas in that it has 
 received a purplish tint from contact or mixture with oxide of 
 iron, which, in its mixture with white, gives it its name. As 
 will be seen, it is broken up into small and large pieces by dark 
 purple, brown, and black veins, and tinted with violet and light 
 pinky greys with touches of white. The method of imitating it 
 is as follows: Ground colour, dead white, stippled. The 
 grounding or rubbing-in colour for working with is made from 
 flake white and pure linseed oil, stained with vermilion and a 
 little ultramarine blue. As this is an important part of the 
 working of all crayon marbles, too much care cannot be used in 
 the mixing of it. The colour used should be mixed with pure 
 refined linseed oil, and should be of such a working consistency 
 as when rubbed bare upon the white wall or panel to produce 
 the same tone and depth of colour as the prevailing light tint 
 seen on the panel. And when we say it must be rubbed bare, we 
 mean to put as little colour on the white yrouncl as possible. A 
 stiff, well-worn brash is the best, and plenty of elbow-grease. 
 This is an absolutely indispensable condition, because if too 
 much grounding colour is put on, it will be found when we come 
 to soften the crayon lines with the hog-hair softener, they will 
 spread instead of keeping firm, and thus the work will be spoiled. 
 On the contrary, if there is only the right quantity of colour on 
 it the lines will stand firm and comparatively sharp. Care, 
 however, must be taken that every part of the wall or panel is 
 covered. Having rubbed in the ground colour, now mark out 
 the panel into broken patches still further by crossing them. Now 
 mix some violet colour with white and turpentine, adding a little 
 of the rubbing-in oil colour to it, with vermilion and ultramarine 
 
 blue mixed with it to form the violet tint, also some blue-grey 
 and a little yellow ochre in the same way. We now use a half¬ 
 inch tool or a hog-hair flat fitch, and put in the violet colour as 
 seen in the panel, darker in some parts than in others, then use 
 the bluish grey in the same manner. We now wipe out those 
 parts we wish to remain white with a clean rag, and give a touch 
 of yellow, just as seen in the pattern. We next use the hog-hair 
 softeners, and gently and carefully soften and blend the work. 
 This is the most critical operation, and is done as follows : Take 
 the tool in hand, holding it partly by the stock, and using the 
 extreme ends of the bristles only, and not the side , and if the 
 brush is held perfectly upright—that is to say, stands straight 
 out at right angles from the wall or panel—it will be found that 
 by moving backwards and forwards, across and in the same 
 direction as the veins, without pressure, but at the same time 
 feeling that the bristles bite, a sharp, clear, and fine line mdy be 
 thus retained, sufficiently softened, without smearing or blurring, 
 and the grey, the violet, and the yellow will at the same time 
 be softened and blended. When this is perfectly dry, damp the 
 work down with a damp chamois leather (wash-leather), and 
 then mix some thin white with turps alone, and. using the wing 
 feather of a goose, dip it into the white and go over the work 
 with it, softening at the same time. This thin white thus used 
 adds very materially to the effect if properly done, but it must 
 not be so thick as to hide or obliterate the veins. It will of 
 necessity be thicker in some parts than others, but the “acci¬ 
 dental” effects are an advantage, inasmuch as they help, so to 
 speak, to give that stony appearance so desirable. We now use 
 the violet tint, and again go over the parts with it—the same 
 with the grey and the yellow—and also add to the brilliancy of 
 the whites by putting a little solid white upon them here and 
 there. This, by force of contrast, makes the other part of the 
 whites more transparent. In the proper management of the whites, 
 solid or transparent, much of the success of the imitation depends. 
 A special chapter will be devoted to this part of the subject in 
 due course. We now glaze in the dark parts of the veining, and 
 using a pencil and black, put in the black veins as seen in the 
 panel, care being taken not to make them too clumsy or apparent. 
 
 A Second Process. 
 
 Another way of doing this marble is to rub in the oil-colour 
 quite bare, as before mentioned. Then use the crayons as already 
 directed, and soften with the hog-hair brush. When this is dry, 
 put in the various colours by glazing, the difference being simply 
 in glazing on the wet or dry colour. When the work is varnished 
 it will be found that the varnish subdues and slightly alters some 
 of the lighter tints and the white, and it is therefore necessary 
 in working to keep this in mind, and make such parts stronger 
 than we would were we intending leaving it unvarnished. The 
 effect of the varnishing on 'these colours is, in the majority of 
 eases, not by any means a defect but a benefit. 
 
 Summary of the Process of Imitating Brocatelle Violette 
 Marble. 
 
 1. Rub in the oil-colour very bare. 
 
 2. Use the brown crayon to put in the veins. 
 
 ' 3. Lay in the violet and grey tints as seen in the panels. 
 
 4. Wipeout the whites with a clean rag, and put in the touches 
 of yellow as seen on the whites. 
 
 5. Soften the whole carefully, watching the effect produced to 
 avoid smearing. 
 
 6. When dry glaze over parts with the violet, the blue-grey, 
 &e., and put in the dark parts with the dark brown. 
 
 7. Glaze over the whites with a lighter and more transparent 
 glaze of the grey. When this is wet put in touches of solid 
 white, soften and blend them with the badger-hair softener. 
 
 8. With the pencil and black put in the black lines round and 
 about the principal patches. 
 
 Italian Pink Marble. 
 
 The name Italian pink has been given to this marble on account 
 of its colour, which is of a soft pink hue. Geologically it belongs 
 to a vei*y extensive series of marbles called Breche marbles, which 
 range in colour from a light pink with rose-colour, yellow, violet, 
 and purple-brown veins, interspersed with white, dark red, and 
 yellow patches. It is found in a very wide area. Quarries of it 
 have been, and are being, worked in France, Belgium, Africa, and 
 various other countries. One writer says that, like all marbles to 
 which the name of Breche has been given, and which vary in 
 form as well as in colour, according to the locality in which it is 
 found, it appears like a mass of large and small pebbles which 
 have been cemented together. My idea of its formation, judging 
 from its general appeanmee, is that originally it had been formed 
 in large blocks or slabs, then again broken up by some convul¬ 
 sion of nature into all sizes of irregular pieces, sharp and angular, 
 just as a sheet of glass or earthenware breaks when struck with a 
 hammer or stone. These broken pieces have again been united 
 by petrifaction and cemented into great blocks or strata, being 
 assisted by heavy super-incumbent pressure. The broken pieces, 
 both large and small, retain their sharp form and angularity just 
 as seen in our example; 
 
But whether the name of the marbles called “Breehe” 
 originates from the character of the marble or from the place 
 where it was found is not material to our purpose. 
 
 Italian pink is certainly a very appropriate name to give to 
 that kind of Breehe marble which is light in colour and best 
 adapted for using in large masses for staircase walls, vestibules, 
 &c. It is the most pleasing and valuable we have for decorative 
 purposes, not even giving place to Sienna. Its beautiful pinky 
 hue, approaching white in some parts, is broken with sharp 
 angular patches of every size and shape, by means of purple, 
 brown, light red, Indian red, and black. Across many of these 
 patches are a semi-transparent grain or marking in pink, grey, 
 and red, somewhat resembling the markings in cornelian. We 
 frequently find two pieces or patches lying close together which 
 have these veins or grain running across them, showing that if 
 they were turned round and the two edges placed together the 
 grain of the one would match the other,exactly. This is so much 
 the case that it leads us to the conclusion that the two pieces at 
 ope time were one block or slab, which subsequently have been 
 broken up as we see them. The grain or markings we are 
 speaking of afford a wide scope for artistic treatment in the 
 finish. 
 
 Crayons Required. 
 
 The crayons required for this marble are black, dark purple, 
 brown, light red, yellow, and a warm grey. The ground colour 
 must be pure white, stippled. The rubbing-in or working colour 
 made with flake white, stained with the best vermilion to a light 
 pink shade. This colour must be a darker pink when mixed than 
 it will appear when rubbed very bare upon the white ground. 
 There is so little colour left on that it really stains the ground 
 but little, and yet it must be strong enough when rubbed in to 
 allow of the scumbling white in the finish to be distinctly seen, 
 as in our panel. The oil used for mixing this colour should 
 be refined linseed. By using this we insure its permanence and 
 purity. We shall also require a pot or vessel for a mixture of 
 vermilion in turps, having a little of the rubbing-in colour added ; 
 also a mixture of ultramarine blue; also Oxford ochre in the 
 same form. These colours must be used thin. 
 
 Method of Working. 
 
 In working this imitation of Italian pink on a staircase wall or 
 other long surface, I first set out the wall in blocks. These are 
 best large, not only for convenience and effect in working, but 
 also to keep away from the wall-papers. First use the black 
 crayon to mark out the principal or leading veins and the largest 
 patches, this leading vein running obliquely across the length of 
 the blocks, as is seen in the panel given. We may note here 
 that in all blocks of veined marble the mass-of the broken pieces 
 and the darkest colours invariably rest upon or are crowded 
 around this leading vein, so called from its being in all eases the 
 darkest and strongest feature of the slab or block ; and while it 
 is a natural feature of these marbles, it is also the most con¬ 
 venient form possible for working the imitation, as it gives a base 
 line upon which to build the mass of the work, and give to it the 
 most pleasing form. When this leading vein is put in, we use 
 the next darkest crayon, and break up the slab into large and 
 small angular pieces, or broken pieces, in and about the leading 
 vein, the small ones being crowded in between the large ones, 
 as seen in the panel. We now use the light red crayon, and still 
 further break up the service; but in this case gradually breaking 
 away into the large plain surface. The yellow crayon may now be 
 used here and there, but principally upon those parts furthest 
 away from the dark veins. The skeleton or structure of the 
 marble is now ready for the dressing, and we next take a flat 
 camel-hair tin tool, and paint in a portion of the large and small 
 patches with the thin vermilion tint, doing the same with the 
 blue tint, putting in a touch of the latter here and there amongst 
 and on the darker veins. We then dip a feather in the yellow 
 tint, and put in some touches on and across the small and large 
 patches (much of this may be done with the yellow crayon), and 
 gradually breaking away into the larger plain surfaces. We now 
 use the hog-hair softener, and go over the whole, surface, carefully 
 softening the veins and colour tints, bearing constantly in mind 
 what we have before said as to the use of this tool—n.pfc to smear 
 or blur the one into the other so as to destroy the sharpness of 
 the lines, but let each vein, however small or faint, be still seen 
 after the whole has been softened and blended. The work is now 
 left until dry and ready for finishing. 
 
 CHAPTER III. 
 
 Finishing. 
 
 Having now got the marble rubbed in and ready for finishing, 
 we take a feather and thin white, and scumble the panel over with 
 it, not covering it all over, but partially so, using the badger-hair 
 softener to soften it while wet. This spreads and softens it, and 
 helps to give it that stony appearance as in the pattern. We now 
 use a partly solid white, and paint in portions of the patches, 
 brushing them towards the edge of the patch, but not over the 
 line. This gives sharpness to the edge of the patch, and also 
 variety. It is very useful, too, in defining the limits of a block of 
 
 marble on a staircase wall, as by simply contrasting an almost 
 white patch against a dark one on the next block, Ave get a clear 
 division line Avithout having to resort to strong lines or artificial 
 contrasts. The effect thus produced may be seen on some of the 
 patches in the panel given in March. 1 now glaze some of the 
 small patches with a thin Avash of vermilion and Indian red, or, 
 if these tints are made the right shade of colour, by the addition 
 of Avhite, they may be painted solid. These solid patches, in 
 contrast Avith the semi-transparent patches, give a better effect to 
 .the AA'hole; but they must be put in Avith judgment and care. In 
 and amongst the patches are a number of small broken bits. 
 Some of these are of a much darker tone of colour than any other. 
 They are principally of a reddish-broAvn colour, Avhich may be 
 made from Indian red, Avith a little burnt umber and Avhite. 
 These impart a still more stony look to the imitation. We now 
 proceed to put in those A^eins or markings Ave have spoken of 
 before as being in that Avavy form we see in the agate or corne¬ 
 lian. To do this, we use an ordinary flat camel-hair tin tool, and 
 dip it into thin vermilion, purple lake, or Oxford ochre. With 
 the tool charged Avith any of these colours, I put in these veins 
 across the patches, here and there across some of the medium 
 patches, as may be seen in the panel. These assist the AA'ork very 
 much, and add to its beauty. But before using the tool we open 
 it irregularly, either Avith the hand or Avith a coarse-toothed 
 comb, this opening being as irregular as possible, so as to make 
 broad and narroAv marks. Care must be taken not to make too 
 many of these markings, and those A\ r e do put in should be care¬ 
 fully done. Some of them will pass over tAVo or three patches 
 lying close together. Some of the patches may noAv be partially 
 outlined with a nearly black brown in and on the darkest veins to 
 give force and sharpness. When this is done, I put in some solid 
 AA'hite streaks across some of the patches, as seen in the panel— 
 some of them mere narrow streaks ; others broad, Avith irregular 
 edges. These, if properly done, are very effective. In varnishing 
 Italian pink, the best copal, French oil, or the best pale carriage 
 should be used. Its colour is so pure and delicate in parts that 
 any ordinary or high-coloured varnish will turn it yellow, and 
 thus destroy its purity. So in all cases Avhen it is used, this 
 consideration should have its due weight. 
 
 We have occasionally used a small hog-hair overgrainer for 
 putting in the agate veins—one about an inch Avide. This may 
 be opened by drawing it edgeAvays across the fingers or a piece 
 of Avood. This latter Avill open it in a more irregular form than 
 the comb, and thus obtain narroAv and Avide veins with one stroke. 
 
 The Hog-Hair Softener. 
 
 This tool, Avhich is exclusively used for marbling, has been by 
 many called the hog-hair badger. This, liOAvever, is a misnomer. 
 The badger-hair softener derives its name from the hair Avith 
 which it is made, being that of the animal called the badger, and 
 it is used for both Avoods and marbles ; but to call the hog-hair 
 softener a badger is ridiculous. The most useful size of this 
 tool for general purposes is about three and a half to four inches 
 wide, and it should be made of the very best bristles, three or 
 four knots in thickness, according to the thickness of each knot. 
 It should have a good spring, and be perfectly level and even at 
 the top end, with Avhich Ave Avork. This is an absolutely necessary 
 quality in a good tool. The bristles should measure about three 
 and a half or four inches from the stock. The length of the 
 handle is of no consequence, but the stock should be strong but 
 not bulky. ’ Of course, there is a difference in making—Avell made 
 and poorly made ; but if the conditions stated above are observed, 
 a good tool Avill result. Mr. J. Hill, of 230, Pentonville Road, 
 London, N., is a specialist in the making of these tools. 
 
 In the using of this softener Ave folloAV the instructions given 
 in our article on the Brocatelle-A'iolette. 
 
 Summary of the Process of Imitating Italian Pink Marble. 
 
 1. Ground, flat Avhite, stippled. 
 
 2. Rub in the light pink oil-colour very bare. 
 
 3. Use the black crayon, and mark in some of the largest 
 patches or broken pieces ; then put in a leading vein the length- 
 Avay of the block. 
 
 4. Mark smaller patches in between the larger ones — some very 
 small, others almost as large as the biggest ones, using the dark 
 broAvn crayon, also the dark red ; then the light red, then the 
 yelloAV, as seen in the pattern, breaking aAvay into the plain 
 spaces. 
 
 5. Put in the tints of vermilion and blue; also in and amongst 
 the small bits. 
 
 6. Use thin yellow and a feather, and put in touches of yelloAV. 
 
 7. Use the yelloAV crayon, and run in fine veins in and about 
 and across the patches. 
 
 8. Soften carefully Avith the hog-hair softener; this will bring 
 it into shape, and enable us to see where we can improve it by 
 adding colour or otherwise. 
 
 9. When dry scumble with thin Avhite. 
 
 10. Put in the markings in yellow, red, and grey. 
 
 11. Lav in solid Avhites. 
 
 12. Put in dark lines round the patches. 
 
 13. While working have pattern near by to refer to Avhen 
 required. 
 
6 
 
 How to Paint the “Whites” in Marbles. 
 
 How to manage the whites in coloured marbles so as to give 
 that transparency, depth, and hard effect seen in all real marbles, 
 and without which all imitations are wanting in that stony 
 appearance characteristic of the real ones, is a question of 
 supreme importance to the marbler, which 1 hope to assist him 
 in attaining in this chapter. 
 
 Scumbling. 
 
 The first use of white upon the marble after rubbing in the 
 form and part of the colour is to scumble the work over with it 
 very thin. There are two or three reasons for this. In the first 
 place, if we examine a piece of real marble, we shall find on the 
 partly polished surface a greyish, floury appearance. This is 
 produced by the atoms of which it is composed reflecting the 
 light, and which helps to soften the lines or veins. When the 
 piece of marble comes to be brought up to a fine polish, this 
 floury appearance almost disappears, and this is characteristic of 
 all marbles. Now we scumble the thin white with a feather upon 
 the' imitation in order to produce the effect above described; not 
 only this, but if we find, when we come to finish, that there are 
 certain parts of the veins which are too strong for that part of the 
 slab or block on which they are placed, we can by scumbling 
 with white reduce their strength and bring them into harmonious 
 keeping with the rest of the work. 
 
 Effect of Scumbling, 
 
 Another important effect which this scumbling has is that 
 whenever it passes over a patch of colour, it will sink into it, 
 and partake of that colour to a certain degree, thus creating a 
 variety of half-tints, which are very pleasing and effective. In 
 fact, we produce effects often which we have not calculated upon. 
 Here, however, a word of caution is necessary. The scumbling 
 should be done with care and judgment; if indiscriminately 
 (Jaubed on, it will do harm instead of good, and produce a chalky, 
 painty appearance, which is very objectionable. When we paint 
 in the streaks of solid white on top of the thin white, the latter 
 is thereby rendered semi-transparent by the force of contrast, 
 and a further effect of this kind is obtained when the work is 
 varnished, for while it partially effaces some of the thin white, it 
 gives force and tone to other parts, thus producing a variety of 
 tints and hues very pleasing. 
 
 Now, this scumbling and solid whites are mainly applicable to 
 the variety of Breche marbles, such as the Italian pink, in which 
 the whites are all on the surface, and in marked contrast to such 
 marbles as Siena, Rouge Roi, &c., in which the whites are 
 underneath the red, and, of course, require a different treatment 
 in order to produce the effect desired, which treatment will lie 
 fully described in due course. Here it would be out of place. 
 
 CHAPTER IV. 
 
 Explanatory. 
 
 1 wish to point out before commencing this chapter that in 
 order to show as much of the characteristic features of each 
 marble in the limited size of our plates, I am compelled in many 
 cases to crowd in and reduce the size of many of the broken 
 patches in such marbles as Siena, Italian pink, Breschia Ficanio, 
 &c., and this may leave a wrong impression upon the minds of 
 students. Therefore, I hasten to say that many of the patches in 
 the marbles named above are double, treble, and even six times 
 the size as represented in these patterns ; consequently, if all the 
 broken patches were kept down to the small dimensions shown, 
 and especially upon a large-sized block on a staircase wall, we 
 should not only multiply our work tenfold, but the effect would 
 not be near as good as when large patches and small ones are 
 judiciously contrasted. 
 
 Caution in the Using of Crayon, 
 
 I take the opportunity of giving a word of advice and caution 
 in the use of the crayons. It will be found, as a matter not to 
 be avoided, that some of them will break in the using, while 
 others will bear almost any amount of pressure. This arises 
 from the fact that we cannot put a sufficient amount of pipe-clay, 
 &c., into their composition without reducing the depth and 
 strength of the colour; this is especially the case with the dark 
 red and the blue-grey crayons ; consequently, in using these brittle 
 ones great care should be exercised. First, in fixing them into 
 the crayon-holder, the square ones should be placed with two 
 angles of the square in slits or openings in each side of the 
 holder. It will be found that by doing this the holder not only 
 grips the crayon firm, but does not break it, because the pressure 
 is upon the solid part of it. Another safeguard is obtained by 
 fixing the crayon so that only as much as is absolutely needed 
 projects beyond the end of the holder; and in using, the pressure 
 upon the crayon should be light, and the crayon-holder should be 
 turned round in use, so as to wear it equal on all sides. 
 
 Griotte Marble. 
 
 There are two or three varieties of this beautiful marble. 
 
 Griotte d’ltalie and Griotte fleuri are the best known. The latter 
 is called flowery because of the larger patches of white and fossil 
 shell it contains. It is a French marble, and is found in several 
 parts of the Pyrenees. It is, however, from the quarry of Bour- 
 riette, situated between Cannes and Felines, that the finest quality 
 of this marble is obtained. It is of a deep rich red, with dark 
 brown and black veins, interspersed with large and small spots of 
 semi-transparent white, some of these being fossil shells. It has 
 also spots here and there of a brilliant red almost as bright as 
 vermilion, as seen in the panel. It is a comparatively rare 
 marble, and the quarries only produce small blocks, which 
 cannot be used on large surfaces. In imitating it, however, we 
 are not confined to size, as is the marble mason ; consequently 
 we can adapt it to suit our purpose. Apart from this, however, 
 it is an exceedingly rich and useful marble for small panels, or 
 columns and pilasters, or for bands and general inlaying with 
 other marbles. 
 
 The Method 5 of Imitating Griotte. 
 
 As this is crayon marble we shall require a white, ground, flat 
 and stippled. Now mix the rubbing-in colour with linseed oil as 
 for the other crayon marbles previously described, but using as a 
 staining colour Indian red with a very little black in it. Rub 
 this in bare, but sufficiently strong to cover the whole. If it is a 
 little streaky it does not matter, as the softening afterwards will 
 level it out and take out the scratches or marks. Now take the 
 black crayon and mark out the form of the patches exactly, or 
 nearly the same as shown in the pattern. When this is done go 
 over it with the hog-hair softener just lightly and carefully, so as 
 to take off the harshness of the black lines, but not enough to 
 blur or destroy their sharpness. I must continually urge the 
 necessity for care in this respect, as much of the beauty and form 
 depends upon it. Having softened it, next take away and dip one 
 part of it in turps, wrap it over the thumb, and wipe out the 
 small and large patches of white in the form they are intended to 
 remain, just as shown on the pattern. Now use vermilion with 
 a little Indian red mixed with it to take off its extreme brightness, 
 and put in small patches on the large ones. If this is properly 
 done a very good effect may be obtained. Now let it stand until 
 it is dry and ready for finishing. Our next concern is to work 
 up the whites, and give them that solid and semi-transparent 
 appearance seen in the real marble. This is done by just going 
 over one of the white patches previously wiped out, with a 
 mixture of flake white and a slight touch of ultramarine blue 
 mixed with it, but only just sufficient to tinge it, and while this 
 is wet put on a little solid white, then soften slightly with the 
 badger-hair softener. The “badger” should only skim over it, the 
 object being to soften the solid white into the thin transparent 
 white and blue previously put on, without spreading the former 
 into the latter. A little careful practice, with a thorough 
 understanding of the effect we want to produce, will soon enable 
 the grainer to surmount the difficulty. Now use the pencil and 
 drop black, and go over the veins and round some of the patches, 
 taking a leading vein the whole length of the panel, inclosing 
 some of the patches, but not over all of them. This black serves 
 two purposes. It makes the lines or veins made by the crayons 
 to look of a brown colour, and so we get two colours of vein. 
 Borne of the broader ci'ayon veins have a fine line of black on 
 each side of them, which makes them still browner. Now look 
 the work well over, and add a spot of red or brown and a touch 
 of black here and there in places that appear to require it to 
 increase the effect. It is a good plan before varnishing any of 
 these imitations to take a palette-knife and go over the surface 
 with it, laying it flat and carefully using the edge to cut off any 
 bits or grit that may have got on in the working. Of course, 
 this must be exceedingly carefully done or the edge of the knife 
 will cut the paint, but if well done it will leave the surface quite 
 smooth, far better than using sand-paper, which is apt to scratch 
 and so make bad work. 
 
 Pyrenean Green. 
 
 The outer band of the panel is an imitation of a green marble 
 found in a portion of the Pyrenean mountains and valleys. It is 
 one amongst several, some of which are veined with green, just 
 as one variety of the Griotte is streaked with green. ’ The 
 difference in the colour arises from purely accidental circum¬ 
 stances. Marble is a carbonate of lime, and more or less pure 
 according to the situation in which it is found. The fossil 
 marbles of the British Islands are found- full of the remains of 
 dead creatures cemented together and hardened into stone. The 
 origin of the Irish and Belgian marbles are principally formed of 
 the shells of fish, hardened in the same way. Mr. Arthur Lee 
 says carbonate of lime, at some time in the history of particular 
 districts, was subject to great heat and pressure; and to-day we 
 find what is called marble. Where the lime was pure, we "find 
 statuary marble; where the lime contained streaks of dark 
 colouring matter we get veined marble. Similarly we can trace 
 the manner in which all the coloured marbles were produced. 
 Limestone, in close proximity to beds of iron ore, becomes red; 
 copper gives us green, and so on. 
 
7 
 
 How to Imitate Pyrenean Green. 
 
 We here lay hold of a different class of marbles to the crayon 
 marbles, which do not admit of the use of the crayon, and require 
 totally opposite methods of working. There are two methods of 
 imitating this marble—the one by opening out the veins with 
 turpentine on a white ground, and the other by putting in the 
 green veins with a feather and pencil on a black ground. In 
 working on this latter system work off a dead black ground either 
 quick drying mixed with japanner's gold size or distemper black. 
 I have myself usually given the latter the preference, because the 
 green veins when feathered upon it sink into it, and enables me 
 by following on with more green upon the first veins to obtain a 
 variety of shades which could not be otherwise got. The veins 
 on this also retain their sharpness much better than when done 
 on any other ground. If we work on oil black there is no key to 
 hold the colour, consequently it runs out of shape, and the work 
 is not so good. 
 
 Colours.' 
 
 Mix up several shades of green with white added, and use it 
 without much body for the first start, and add to it a little 
 japanner’s gold size to bind it, so that we can go over it again 
 quickly. Then take a feather (these should be from the wing of 
 a goose, they being the most useful and most suitable for the 
 purpose), and dip it into the darkest shade of green, and go over 
 the panel with it, giving the veins a lead in one direction, not 
 necessarily covering the whole of it, but leaving portions of the 
 black ground in small and comparatively large patches. When 
 this is done dip the feather into the next lightest tint of green, 
 and go over the whole again, but in a somewhat contrary direction. 
 If this is properly done it will leave a lai-ge number of irregularly- 
 shaped patches of the black and dark green ground bare. Now 
 use a still lighter shade of the green, going over the same ground 
 with this, running it in the same direction, or nearly so, as the 
 first feathering. By this means we produce a sort of network of 
 veins, the one crossing the other, and we also produce a great 
 variety of tints of veining, for when one vein crosses the under 
 ones, we get more body of colour more or less as the accidental 
 play of the feather leaves much or little behind it in working, 
 and the solid, or comparatively solid, parts give, by force of 
 contrast, more transparency to the under work. This being done, 
 follow on with pure white, using the feather very lightly, and 
 putting in some fine veins with it; also using a large pencil or 
 swan quill to put in the larger veins. The white should be used 
 rather thin. We thus get a number of veins, having many 
 different degrees of transparency, which is the distinguishing 
 feature of the marble. 
 
 When the work is dry s proceed to glaze and finish it. We glaze 
 it in order to enrich, subdue, and modify the previous feather 
 work, and in doing this keep in view the run of the vein, and by 
 using different shades of the glazing colour we obscure some 
 parts and give prominence to others, and so make an exact 
 imitation. The glazing colour may be made from Prussian blue 
 and raw sienna. The several shades of Brunswick green may be 
 used, rubbed very thin and bare, but it is not so transparent as 
 the first one. Part of the large veins are white, or nearly so, the 
 whole being softened or blended into the green. This, if carefully 
 and intelligently done, gives the work a stony and marble-like 
 appearance. It looks as if the veins were originally white, and 
 then a thin wash of green spread over it. Acting on this idea we 
 glaze over all the veins, and with a clean rag wipe out parts of 
 the veins, and put solid, or nearly solid, white upon these parts, 
 and soften them so that the outer edges of the white shall fall 
 away into the green, the effect being excellent. Now use pure 
 black, and with a pencil or swan quill put in the small patches 
 of black seen in the pattern. This adds very materially to the 
 effect, as the black of the ground in contrast with the pure black 
 thus added makes the former look of a dark green hue. 
 
 A Second Method. 
 
 The second method of imitating Pyrenean green may be 
 accomplished by an entirely opposite system to the one previously 
 described, and excellent imitations may be produced by using it. 
 For the black ground substitute a white one, and open out the 
 veins with turpentine. This method may be used with advantage 
 for some purposes, especially so in the imitation of inlaid 
 marbles. This fact I shall elucidate further on. The opening- 
 out method is worked as follows : On a white ground rub in a 
 mixture of Brunswick green and black, and a little burnt umber 
 for the Pyrenean green ; then use a feather and turpentine and 
 run it over the green colours. This immediately opens out the 
 colours, showing the white ground, and while it is wet, and before 
 it begins to run, take a rag and dab it with it. This takes a lot 
 of the colour off, and puts on some also by taking it from one 
 part and transferring it to the others. This creates a variety of 
 veins varying in depth of colour. Now take a piece of stiff paper, 
 and crumple it up and dip it into some turpentine, which should 
 be in a shallow vessel, then dal) it on to the previous work. This 
 breaks up the veins, and the fresh turps going on parts causes 
 the white ground to appear lighter in parts, thus making a still 
 greater variety of shades of green. Now use a fitch or a swan 
 
 quill pencil, and open out the large veins which run across the 
 panel, and with a clean rag wipe out parts of the large veins 
 while they are wet. After this let the work stand until it is dry, 
 and then glaze it over with green, as described in the first 
 process, putting in the various shades of green with a swan quill, 
 not covering it all over, but using the darker shades of transparent 
 green to bring the whole into shape. If this is carefully done it 
 will cut up the edges of the large veins and produce the general 
 form of the marbling. Then use a pencil of ivory black, and put 
 in the small black patches as seen in the pattern. This black not 
 only seems to shape the veins, but enriches the green, and being 
 solid causes the other work to appear more transparent than it 
 otherwise would. Now add touches of pure white to the large 
 veins when the green has been previously wiped off. It will be 
 seen by what has been said that the glazing of the work is of the 
 greatest importance to the ultimate result. In glazing we may 
 introduce a little of the colours, such as yellow and red, which 
 seems to give a variety of tints, and adds very materially to the 
 finished effect. 
 
 Summary of the Process of Imitating Griotte Marble. 
 
 1. Ground, white, stippled. 
 
 2. Rub in with oil-colour Indian red, with a little black added. 
 
 3. Use the black crayon and put in the dark veins. 
 
 4. Soften with the hog-hair softener. 
 
 6. Wipe out the white parts. 
 
 6. When dry work up the whites with thin white first, and solid 
 white upon it while wet; soften or blend it. 
 
 7. Put in the bright red spots, but not quite so bright as shown 
 in the pattern, which is an error of the lithographer. 
 
 8. Use pure black, and outline some of the patches with it, 
 putting in a leading vein. 
 
 Method of Imitating Pyrenean Green Marble. 
 
 No. 1 Method. 
 
 1. Ground, black. 
 
 2. Use a feather and go over the panel with several shades of 
 thin and solid green colours. 
 
 3. When dry, glaze with a transparent greyn. 
 
 4. Wipe out parts of the large veins here and there. 
 
 5. Glaze parts with darker green, and put in black parts. 
 
 6. Touch up whites, and blend. 
 
 No. 2 Method. 
 
 7. A white ground. 
 
 b. Rub in with a dark green, made from Brunswick green and 
 black or a little burnt umber. 
 
 1). Open out the veins with a feather and turps, and dab with 
 a rag. 
 
 10. Use pencil and turps for the large veins, and wipe out the 
 parts to be white on the large veins. 
 
 11. When dry, glaze over as previously detailed. 
 
 12. Touch up the whites and put in the blacks. 
 
 13. When in doubt, refer to the pattern and the instructions 
 given. 
 
 Inlaid Marbles. 
 
 The old-time workers in marble have left behind them some 
 beautiful examples of this kind of work in the form of inlaid 
 columns, pilasters, table-tops, Ac. This style of inlaying was 
 called opus Figlimius, and it is said was begun to be used some 
 time before the Christian era, and representations of figures, 
 flowers and fruit, combined with foliated ornamentations, were 
 produced in a conventional style and in various colours, but with 
 little attempt at shade. 
 
 An Ancient Art. 
 
 At the time of the Renaissance in the sixteenth century, this 
 art was revived under the name of Roman Mosaic, by which 
 name it is still known. .Another development gave it the name 
 of opus Vermiculatum. In it we find life-like imitations of natural 
 objects, the colours and shadows being reproduced with realistic 
 fidelity by using picked pieces of different marbles, glass, 
 precious stones, &c. In some mosaics of this kind, such delicate 
 gradations of shadow and colour have been obtained as to appear 
 paintings. The Florentines were exceedingly clever at this work, 
 and have left some exquisite examples behind them, proving the 
 truth of the saying that “a thing of beauty is a joy for ever.” 
 
 It will be seen by what we have said above, that in imitating 
 the admirable work of the old masters, who worked in real 
 marbles, we need not be afraid to introduce into our imitations 
 figures of birds, flowers, and foliage, and even the human figure. 
 This style of inlaying opens out a wide field to the marbler, 
 requiring the exercise of the greatest skill, a knowledge of the 
 harmony of colour, and also some practice in design. In getting 
 out the designs, we should study the capabilities of the material, 
 and only carry out designs that either have been carried out in 
 the real marble, or such as could be executed with it. If we do 
 this we shall avoid one great cause of failure. 
 
 Method of Imitating Inlaid Marbles 
 I will now describe my method of imitating inlaid mai’bles, 
 addressing myself to those of my readers who have attained a 
 
8 
 
 certain proficiency in and a practical knowledge of the various 
 marbles, otherwise it would be like setting a child to read when 
 it does not know a single letter. Having decided upon a design, 
 which should, as a rule, be bold and simple, and as we have 
 before said, such as could be executed in real marble, the wall or 
 panel we purpose decorating should be got up with three or four 
 coats of white paint, and finished flat and stippled, the reason for 
 which will be noted further on. We now carefully set out the 
 wall, making accurate measurements, and strike the straight lines 
 with line and chalk. Then go over the lines with black lead 
 pencil and straight edge ; any circles or segments are best struck 
 out with compasses holding a piece of lead pencil. In doing this it 
 would not do to stick the point of the compass into the wall or 
 panel, so, to avoid injury, we must use a square piece of wood 
 about half an inch thick, and put lines across it, dividing its 
 surface into four equal parts. By this means we get an infallible 
 guide for the centre. Now place this wood exactly on the centre 
 lines, and hold it with one hand, while with the other you place 
 the point of the compasses in the centre of the piece of wood, 
 and thus run in the circle or part of the circle with the black 
 lead. When we have thus outlined with lead the various parts 
 of the design, paint in any parts requiring a black or other dark 
 ground colour, taking great care not to put too much colour upon 
 it, nor to leave any fat edges, or any projections or uneven places. 
 A lining fitch is the best tool for running the outer lines, and 
 then fill up between. I have used the badger-hair softener for 
 levelling any panelled grounds, and by working from the outside of 
 the band and brushing inwards, I have been very successful in 
 smoothing and levelling such parts. All being now ready for 
 marbling, we proceed to paint in the principal marble, that 
 occupying the largest service. In the coloured example it would 
 be Griotte, and the next the green, leaving the narrow siena 
 band until the others are dry. It will, of course, be understood 
 that the imitations of the various marbles will be done in accor¬ 
 dance with the instructions specially given for each. Great care 
 must be taken to wipe off clean any colour that may have got on 
 to the siena or band in doing the green and Griotte; also to 
 avoid encroaching with one marble on to the space set apart for 
 another when using the paper or rag. This may be- done by using 
 slips of stiffish paper of various widths, and cut with straight 
 edges, and in using them, place one edge of the paper on the 
 division line below the two marbles, holding it with one hand 
 while you dab on the colour with the crumpled paper; the strip 
 of paper thus prevents an}’ of the colour going on to the part so 
 covered, and leaves a sharp, straightly-eut line. In doing curved 
 lines, the same plan must be adopted, but, of course, the paper 
 must be drawn with the compasses, and cut to the circle or curve 
 required. 
 
 Bands. 
 
 If we are doing a narrow band, cut a piece of paper, say, four 
 times the width of the band, and cut a slip out of the centre of 
 the exact middle of the band, and in working place this on the 
 part the band has to escape, and hold it in position while what 
 is required is done through the cut strip. This keeps both edges 
 straight and sharp. Avoid using very thin colour while using 
 the paper, as it will be apt to run underneath, and so on to the 
 next marble. These strips of paper are very useful in preventing 
 the staining of floors or any part requii’ing protection while doing 
 somewhat dirty work. When the marble mason puts together 
 different marbles, whether on a wall or table-top or a wall panel, 
 he endeavours to lay them so that the joints of the marble shall 
 be as little seen as possible, and in order to do that he cuts and 
 grinds them to a straight and square edge, or in the case of curves, 
 still true to the line ; and although for the purpose of cementing 
 them together he uses a cement for bedding them upon, and also 
 for putting between the joints, this latter is so thin that it is 
 hardly perceptible. But however true the edges may be, there is 
 still a slight line showing. This is sometimes white and in other 
 cases coloured. Now, it will be evident that if in the imitation 
 we can produce this fine white line, we shall give a still neax’er 
 imitation than without. And this is the way it must be done: 
 On the straight lines we place a straight edge, the bevelled edge 
 to the depression line. We then take a sharp-pointed penknife, 
 and place the back edge against the straight edge, and carefully 
 draw it down the full length required. This scrapes off the top 
 colour, and leaves a fine white line—sharp, clear, and perfectly 
 straight. 
 
 It will be at once evident that great care must be exercised in 
 the doing of this. The knife point must be kept at one angle, 
 nor must any pressure be used, or we shall cut too deep. If the 
 knife blade is depressed a much broader line than we want will 
 be made ; and if we do not mind what we are about, w r e shall take 
 the line beyond the place it should stop at, and so make a bad 
 place. 
 
 Circles. 
 
 In doing circles or curves, templates should be cut, or they 
 may be run by using a pair of compasses, with one foot sharpened 
 like the knife, and using it as before directed. There is no other 
 method by which so fine a line can be done, and it is to enable 
 us to make a sufficient body of white on the groundwork that we 
 
 give the three or four coats of white. Of course, it requires a 
 great deal of care and skill to do this work well', as indeed does 
 any good work, and it would be folly to attempt to do it except 
 we strove to do it with all our might. 
 
 Our Black and White Illustration.* 
 
 The design in black and white for inlaying is copy of a lai’ge 
 panel (six feet by three feet), which was prepared by the writer 
 twenty-nine years ago for the Art Workmen’s Exhibition, 1864-5, 
 Manchester, and it is now as fi’esh and looks as well as wheix first 
 done. It is composed of the following marbles: No. 1, Rouge 
 Royal ; No. 2, Bardiglio ; No. 3, Spanish Brocatella; No. 4, Rose 
 antique, with black bands and black mouldings. It is, of course, 
 a difficult matter to give a correct l'epi'esentation of a marble 
 without colour ; but our sketch will suffice to illusti'ate our instruc¬ 
 tions. The centre holds a couple of birds with a nest, and on 
 the two stars are buttei-flies worked on a ground of rose 
 antique. This panel is an example of the opixs Vermiculatuni 
 spoken of in the eai’ly paid of this chaptei’. No. 1 is Rouge 
 Royal; No. 2, Bardiglio; No. 3, Spanish Bi’ocatella; No. 4, Rose 
 antique; No. 5, black (plain). In this example we have a 
 decidedly harmonious combination of colours, being an equal 
 balance of the three primary colours, modified, namely, blue on 
 blue-grey in the Bardiglio, red in the “Rouge Roi,” and yellow 
 in the Bi’oeatella, bound and centred in solid black, which latter 
 purifies the whole of the other colours, and it is only by this 
 judicious and intelligent use of the various plain and coloui’ed 
 mai’bles that a successful result can be obtained. In this panel 
 I have confined myself to pure marbles in the mass of the work, 
 and the combination serves to show that it is not necessary to 
 employ a large number of mai’bles to pi’oduce a good effect, but 
 that simplicity of design and excellence of woi’kmanship are the 
 goals to be aimed at. 
 
 Now, in the doing of the birds and buttei’flies we have a wide 
 choice of colour, so that thex’e need be no difficulty in that 
 l’espeet. The gx’eat point we have to accomplish is to make all 
 we do in this style to look like max-ble, however small it may be— 
 not to make it a mere painting, that would be out of place, but 
 to give the shape of the bird, tlie leaf, or flower in a conventional 
 form, the detail being such as one might fancy some of the veins 
 in the real marbles would be. If we give the white that depth, 
 as well as solidity and ti’ansparency, we have before spoken 
 about, we can make any form or piece to look like mai’ble. 
 When the object to be repi’esented is small, the methods and 
 systems of woi-king must be modified and adapted to its size and 
 form, and, of course, will have to be worked with the panel, 'but 
 even in that case the crumpled paper and rag will be found 
 useful. 
 
 * CHAPTER V. 
 
 Brescia Ficario Marble. 
 
 The marble which we are now to consider is one of a class 
 which differ much in colour, but have a general resemblance in 
 their mai’kings. Some of them dei’ive their names from the 
 situation of the quarries from which they are taken, but others 
 again have their distinguishing name given from their form, as, 
 for instance, they are called bresciated marbles, their formation 
 showing that they are composed of cei’tain hard rocks which have 
 been broken up by a convulsion of nature, and then cemented 
 together by some fluid or semi-fluid material. Mi-. G. H. 
 Blagi’ove, in his useful little work, gives ixo less than eleven 
 different kinds of this mai-ble, quarried in France, Italy, and 
 Belgium. Many of these, however, are not suited for imitations, 
 except in small quantities. The slab of which our panel is a fac¬ 
 simile was obtained by the writer about forty years ago from a 
 very old house at Sti’atford-lc-Bow, which stood on the land 
 occupied by the works of the Eastern Counties Railway, near 
 London. It formed part of a chimney-piece of beautiful design. 
 
 This marble is vei’y suitable for use on columns and pilastei’s, 
 and by lightening the dark patches and working it so as to avoid 
 spottiness it may be used for large panels, or, indeed, for stair- 
 case walls. The combination of colours is very harmonious, and 
 there is a sweet, soft blending of the one into the other which is 
 very pleasing. 
 
 How to Imitate the Marble. 
 
 Brescia Fitario may be described in the mass as a semi-white 
 marble, cut up or figured with black, pui’ple, or gi’een veins, 
 having patches of a rich purple, pink, grey, and gi’een, with 
 white as the leading feature. In the pattern given herewith there 
 is more work than there would be if we were doircg a column, 
 pilaster, or a large panel. This is done for a set purpose, in 
 order to give the student nearly all the variations of colour and 
 form found in the real mai’ble. 
 
 Ground Colour and Crayons. 
 
 This being a marble best worked with crayons, a dead white 
 and stippled ground will be x-equired, a rubbing-in colour exactly 
 the same as for Italian pink, but omitting the red, the white 
 requiring no staining colour. For veining use a black, a darkish 
 purple, and a green crayon ; also mix some purple lake and 
 brown madder together. 
 
 i 
 
 r 
 
 See page 12. 
 
9 
 
 Form or Markings. 
 
 The rubbing-in colour having been carefully and barely painted 
 on the panel in accordance with previous instructions, the panel 
 is ready for veining. I first use the black crayon, and mark in 
 some of the largest patches, which, as may be seen, are long and 
 rather narrow in form, and, unlike the Italian pink, have rounded 
 or partially rounded ends. Further, these patches appear to run 
 in one direction, as if they had been at one time in movement in 
 the midst of some semi-fluid substance. The advantage of 
 marking in the largest patches first is that at once we thus give 
 a character and form to the veining, which also helps us very 
 materially in the filling up of the interstices with the small 
 patches. Having thus given the main feature to our work, then 
 use the purple or purple-brown crayon, and fill in the interstices 
 between the large patches with it, using the green crayon after¬ 
 wards to cut up the large patches. Now take the hog-hair 
 softener and gently soften the veins, taking care not to smear 
 them with too much softening, but exercising our judgment and 
 observing it closely so as to stop when enough has been done. . 
 Now take a piece of paper, crumple it up, and then dip it into the 
 mixture of madder-brown and purple lake, with a little black 
 added; with this dab in the dark parts of the pattern. The 
 paper thus used leaves large and small spaces on these parts, 
 which represent semi-oblong and roundish pebbles, as seen in the 
 real marble, and by using the black crayon and going over these 
 parts with it each fragment is converted into the particular shape 
 we want it. These are now softened, the greatest possible care 
 being employed. Some of these pebbles are very beautifully 
 marked. The work is now allowed to stand until it becomes 
 thoroughly dry, when we proceed to glaze it. 
 
 Finishing. 
 
 By working in the manner described on the white ground, we 
 produce a semi-transparent appearance, which gives it a stony 
 effect. Now use the thin white (flake white and turps only), and 
 with a feather scumble over the whole of the panel, softening it 
 as we go along with the badger-hair softener. It must be under ¬ 
 stood that this white must be used with judgment, and must be 
 thin enough to work freely and not obscure the veins, as upon this 
 much of the effect of the imitation marble depends. Now take a 
 feather and a mixture of thin Brunswick green. This must not 
 be strong in colour, but just about the same strength and tone as 
 the green crayon veins appear. Run this in and about the other 
 veins, and on and over the large patches. Having done this, we 
 again use the thin white, and go over parts, especially those 
 parts which require the veins to be subdued somewhat. By 
 dipping the feather into a thicker white occasionally, and touching 
 places here and there with it, we greatly enhance the look of the 
 other parts. On some of the smaller patches and pebbles we put 
 a little lake or other colour, as shown in the pattern. This 
 enriches the whole, and if properly done has an exceedingly 
 pleasant effect. For the finishing touch take some solid white 
 from the tube, add a little turps to it, so as to render it workable, 
 and with this and a little fiat camel-hair tool paint in a part of 
 some of the patches, softening them upwards to the edge of the 
 patch. This solid white, by contrast, reduces the thin white and 
 makes it semi-transparent, and, in fact, gives great value to the 
 imitation. At this stage we may add greatly to the finished effect 
 if we take a pencil and black and outline some of the lai'ge and 
 small patches with very fine lines, not in any way to obscure the 
 previous veining, which, by being worked on the wet paint, are 
 not so decided as those put in with pure black or dark purple at 
 the finish. Consequently we thus get a variety of tints or hues 
 in the veining, and if the black lines are put in against the white 
 and coloured patches they give sharpness and distinctness without 
 destroying the softness of the first crayon veining. 
 
 Summary of the Process of Imitating Brescia Ficario 
 Marble. 
 
 1. Dead white ground, stippled. 
 
 2. Use black crayon to put in large patches. 
 
 3. Use dark purple crayon and green to put in small patches 
 between the large ones. 
 
 4. Soften carefully with hog-hair softener. 
 
 5. Scumble and glaze with thin white. 
 
 6. Feather-in the transparent green veins. 
 
 7. Use thick white here and there, and- pure white from the 
 tube for parts of some of the patches. 
 
 8. Outline in parts with black and dark purple, using a fine 
 pencil. 
 
 CHAPTER VI. 
 
 Breohe Oriental and Malachite. 
 
 This example of inlaid marble is made up of two marbles in 
 the form of a plain panel and border, viz., Breehe Orientale and 
 Malachite. Previous to describing this panel I would suggest 
 that the pattern should be mounted on a hard wood panel—bay- 
 wood is the best—and then sized and varnished. I recommend 
 this because, while unvarnished, one-half the beauty of the 
 specimens is not seen because of their deadness. It is the same 
 in real marbles; their beauty of colour or form cannot be fully 
 
 seen until they are polished. The polishing brings out shades 
 and tints of colour that remain hidden in the unpolished surface. 
 In the imitation half the effect is lost when unvarnished. The 
 blacks or dull brown and purple veins do not have their full 
 value, consequently we lose the effect of contrast and richness of 
 tone and hue. The panels should be secured to the wood with 
 flour paste of a perfectly smooth texture, and only just as much 
 on the paper as will serve to securely fasten it to the panel, the 
 margin with the lettering on being first removed. The wood panel 
 should be one inch or one and a half inches larger than the 
 specimen, and should be painted solid black. This will give the 
 effect of the two coloured marbles being sunk into a slab of black 
 marble. The paper panel should then be sized either with gilder’s 
 parchment size or isinglass size, which will, of course, be free 
 from colour, and will not injure the whites or other delicate 
 tints in the marbles. It will be the safest plan to give two coats 
 of size and French oil varnish. 
 
 Breche Oriental. 
 
 Br&che Oriental, as will be seen by the specimen given, is a 
 very rich marble, composed of fragments or pebbles of white 
 black, and brown of various shades and tints, cemented together 
 naturally by a very close and hard cement, which, as well as the 
 other parts, admits of a very high polish, and is suitable for using 
 in columns, pillars, and chimney-pieces, and as such is very 
 useful either alone or in contrast with other marbles. As will 
 be seen on reference to the pattern, there are reddish brown 
 veins which run in and around the white and coloured patches 
 in many cases outlining them ; around others of the patches a 
 fine black line is seen, which in the imitation seems to give a 
 sharp and distinct character to them and defines them. 
 
 The Method of Working to Imitate the Marble. 
 
 Ground colour, dead white, stippled. Mix a rubbing-in colour 
 using burnt umber, light red (brown ochre), and a little black 
 and boiled oil stiff enough to lay on a strong opaque colour. Go 
 oyer all with this. Then take crumpled paper of a stiff kind, and 
 with this and turpentine open out the colour, using a rag to dab 
 the colour with occasionally, so as to prevent the turps running 
 and thus spoiling the form. If done properly this will leave a 
 mottled surface of different shades of veins of a warm but dull 
 red. I now use a clean rag and wipe out the white patches, large 
 and small, some quite clear, others half clean. A little turps 
 may be used to clean off the colour from those patches which are 
 to be left pure white. Now mix a dark, dull umber brown, made 
 from burnt umber, and a little black and red. With this and a 
 flat fitch or a swan’s quill put in. the semi-dark patches, small 
 and large. Some of these may be of a tint approaching a dirty 
 lead colour. Next follow on with pure black patches of various 
 sizes and shapes; no round or square ones, but irregular in 
 shape. Having got thus far we shall find that our panel is 
 beginning to take its proper form, and will have the small 
 patches of white and the other colours running in between the 
 larger ones, with the red-brown veins enclosing the whole of 
 them. When these are all dry take a stiff fitch and scumble over 
 the red veins with a mixture of a light red with a little umber 
 added, using it so as to produce the proper shade of colour as 
 seen on the pattern; then use the black and the dark dull 
 brown, and add a number of the small patches in order to 
 
 Glazing. 
 
 further break up the masses of red veins. Now glaze over 
 some parts of the white patches with thin white (having 
 a touch of blue-black added to it), and use solid white 
 on others of them. The thin white may also be used as veins 
 running over the black and other patches, but these must be 
 confined to the patches, and do not extend beyond them. This 
 if carefully done, will give a hard, stony look to them. The 
 white and grey patches are now outlined with a fine line of 
 black ; and .with a solid colour of the red shade of the veins, go 
 over them with a pencil and heighten them and give a better 
 character to them, and correct them where required. The instruc¬ 
 tions here given, if faithfully followed, will result in success ; 
 but there will, of course, be much, after the clearest description, 
 left to the taste and judgment of the student. If he is apt and 
 capable of comprehending these instructions clearly, he will soon 
 be able to follow me correctly, and if he does so his work is sure 
 to be satisfactory. It is well to bear in mind what I have before 
 said : that almost any variety of tints, shades, and hues of colour 
 may be added in the glazing; large or small bits may thus be 
 made to partake of any colour we choose, and the general tone 
 modified to suit our purpose when desired. 
 
 Malachite. 
 
 Malachite is, strictly speaking, not a marble, but is a carbonate 
 of copper which has been and is still used for the same purpose 
 as marble ; consequently it has been used as such. Russia is the 
 country in which the largest deposits have been found. It is 
 very beautiful when polished; in colour of various shades of 
 green, ranging from a light sea-green to a bright emerald, and 
 generally of a cold hue. Its markings are peculiar to itself, and 
 
consist of a series of irregular rings which, starting from a 
 centre or core, branch out principally in one direction, and widen 
 as they recede. If we cut through a large onion we may get an 
 idea of these markings, but avoiding the regularity of the markings, 
 of the vegetable. Malachite is only found in small masses some 
 four or live inches in diameter, and in irregular shapes, which 
 are cut and joined together to form large panels, table-tops, &c. 
 
 How to Imitate Malachite. 
 
 Malachite is a simple stone to imitate, but requires great care 
 and precision in the working, as well as judgment and skill in 
 its manipulation. The ground must lie flat white. Mix a rubbing- 
 in colour with. Prussian blue and raw siena, producing a cold 
 blue-green, using clear drying oil as a medium, and adding a 
 little sugar of lead as a drier. I now use a stiff brush (a stencil 
 brush will do), and. brush in the colour very bare , leaving just 
 sufficient colour on po, form a light cold-looking green. Now take 
 a liog-hair fitch, one well worn but forming a tolerably fine edge; 
 with this mark in the.rings, using a darker green, having a some¬ 
 what similar tone to th^-rubbing-in colour. Some of the rings 
 will lie broader than (jfcfftks at their extreme ends, as seen in the 
 pattern. Care must ab&i.yta taken to work the rings so that they 
 will finish at the joiniii^l^.-«the separate pieces (of which I have 
 said the marble is composed) to a sharp but irregular line. Some 
 of these will, however, run into the other and appear as one piece. 
 The marble mason makes his joints as fine as he can to hide the 
 joinings, and this point must be kept in view. The markings 
 being now all put in. the work is left to dry, and then it is 
 glazed. For this purpose use a green as before, made from 
 Prussian blue and raw siena, but thin, using the dry oil as a 
 medium, and cover the whole of the previous work with it, 
 rubbing it very bare, just sufficient to show that it is a glaze, 
 While it is wet wipe out the ravs which cross the rings. This, if 
 done carefully, will produce a very pleasing effect. Now take a 
 pencil and the dark colour and touch up the rings with a fine 
 line at the other edges of the rings—that is, if they require it. I 
 may here repeat what I have before said : that in glazing we may 
 alter the tone of colour in order to suit the position and surround¬ 
 ings of the marble so as to produce harmony of colour. 
 
 Summary of the Instructions for Imitating Breche 
 Orientale. 
 
 1. Ground, white, flat or dead. 
 
 2. Rub in with a mixture of burnt umber and light red (burnt 
 ochre), and a little black added, but very little. Thin with 
 drying oil, stiff. 
 
 8. Use crumpled paper, stiff; dip part into turpentine and open 
 out the colour, using a rag to dab it with. 
 
 4. Use a clean rag and wipe out the white patches, small and 
 large. 
 
 5. Use a dark colour, umber brown, with black and red added. 
 With this put in the dark patches, some almost lead colour. 
 
 6. Use pure black in the same way. 
 
 7. When dry, scumble over the veins, using light red with a 
 little umber added. 
 
 8. Use black, and put in small patches. 
 
 0. Glaze over some patches with thin white, and put in some 
 solid. 
 
 10. Outline the white and grey patches with a fine black line. 
 
 11. Read over the full description as above carefully. 
 
 Summary of the Method of Working to Imitate Malachitf. 
 
 1. White ground, flatted. 
 
 2. Rubbing-in colour: A blue-green made with Prussian blue 
 and raw siena, adding a little sugar of lead, and using refined 
 drying oil as a medium. 
 
 3. Rub this over barely with a stiff stencil brush. 
 
 4. Use a flat fitch, and put in the rings. 
 
 5. When dry, glaze over and wipe out the light rays. This 
 colour to be used thin. 
 
 6. Use pencil and dark rubbing-in colour, and line the rings 
 when required. 
 
 7. Read the full instructions carefully. 
 
 CHAPTER VII. 
 
 Vert de Espagne, Brocatella, and Griotte. 
 
 The Inlaid Panel. 
 
 It singularly happens that the marbles in our present panel all 
 come under the conditions of marbles we have already described— 
 that is to say, that they all three can be worked by the methods 
 described in our previous chapters, although there is a difference 
 in the character and colour of the Brocatella in our present 
 panel, and that I have before described if I give a summary of 
 the methods of each, and then the student can refer to the 
 detailed instructions in the numbers as above. 
 
 The Brocatella in our panel differs from the panel before 
 described more in its colour than in its character. It is much 
 yellower and redder—red and yellow mixed. There is an absence 
 of the purple and violet hues, which gives one its distinctive 
 
 name, Brocatella Violette ; but in other respects is almost identical. 
 Both, however, may be imitated by the same systems and methods 
 in the number referred to above. 
 
 The Griotte is identical, and needs no further description than 
 that already given. 
 
 The Vert de Espagne differs from the Pyrenean green ali’eady 
 given in its character and colour, although both may be done on 
 the same system and by the same methods. As will be seen by a 
 comparison of the Pyrenean green forming the border to the panel 
 of Griotte and our present panel, the latter is finer in its veining 
 and more streaky, although there are some broadish masses of 
 green and white in some specimens; and as we have before 
 remarked, there will be a wide difference in two blocks of marble 
 both coming from the same quarry, therefore if we keep to the 
 general character and colour, a slight divergence either way will 
 not much matter. In the imitation of this green the feather is the 
 principal tool used, and when properly handled does its work 
 well, whether on the black ground or used with the turpentine to 
 open out the veins on a white ground. 
 
 Summary of the Points of Imitating Brouatelle Marble. 
 
 1. White ground, flatted. 
 
 2. Rub in with the oil colour as before described, rubbing it 
 exceedingly bare. 
 
 3. Break up the panel with the black and dark brown crayons, 
 and soften gently with the hog-hair brush. 
 
 4. Mix a reddish-brown colour from Indian red and burnt 
 umber; also one of a reddish-blue tone. 
 
 5. Dip a piece of crumpled brown paper into these colours, and 
 dab it over the lines here and there ; and dab with a rag over 
 these. 
 
 6. Wipe out here and there bits of white with a rag and turps. 
 
 7. Let dry, and then glaze in parts with reddish-yellow and 
 ochre full strength in places as it is seen in the panel. 
 
 8. Use a pencil and black, and outline some of the pebbles, 
 and form a leading line or lines right through the mass of the 
 work. 
 
 Methods of Imitating Vert de Espagne. 
 
 First Method. 
 
 1. Black ground. 
 
 2. Use a feather and go over the whole of the panel with 
 several shades of green and white. 
 
 3. When dry, glaze with a transparent green, Prussian blue, 
 and raw siena. 
 
 4. Wipe out parts of the large veins here and there. 
 
 5. Glaze over parts with darker green, and put in small black 
 parts. 
 
 6. Touch up whites. See detailed instructions. 
 
 ■Second Method. 
 
 1. A white ground. 
 
 2. Rub in with dark green, Brunswick green, and burnt umber. 
 
 3. Open out the veins with a feather and turps, and dab with a 
 rag to prevent running. 
 
 4. Use pencil and turps for large veins, and wipe out the parts 
 to be white on the large veins. 
 
 5. When dry, glaze over as per detailed instructions. 
 
 6. Touch up whites and put in blacks. 
 
 7. When in doubt refer to pattern and detailed instructions. 
 
 CHAPTER VIII. 
 
 Siena Marblf. 
 
 The quarries from which this beautiful marble is procured are 
 situate in the vicinity of the Italian town of Siena — hence the 
 name. 
 
 Siena marble has been a favourite marble for ages. The 
 Greeks, Romans, and most nations and peoples of antiquity were 
 acquainted with it, and used it for decorative purposes. As gold 
 or gilding harmonises with all colours, so Siena marble may be 
 used in combination with any other marble or series of marbles 
 with a harmonious result, and even in these latter days, when 
 there are sfl* many different marbles brought from all parts of the 
 world, Siena is as highly prized as ever it was, and it is indeed 
 a most beautiful as well as a most useful marble. 
 
 Qualities of Siena. 
 
 It is of a soft and quiet tone of yellow, varied with warm shades 
 or depths of yellow ranging from a light cream to a deep warm 
 ochre colour, broken up into small and large patches with veins 
 of black, red, brown, purple, and yellow, with semi-transparent 
 small and large patches of a bluish-grey and white spar-like 
 material. This marble has been, and is still, extensively used for 
 covering staircase walls, for which purpose it is admirably 
 suited, not alone from its colours, but from the facility with 
 which it can be cut into thin slabs for veneering walls. 
 
 Markings. 
 
 The characteristic markings of Siena and Italian pink marbles 
 should be studied carefully, for without a knowledge of the 
 differential points of these two marbles no true imitation of 
 
• Becks -gJouknal- of- Decorative • A^ t ‘ 
 
 (January 1888 
 
 .itlibj Kleinertz.Manchester. 
 
 Brocatella • Violette 
 
 W.Sutherland . Pinxt. 
 

The '(Journal-of-Decorative -Art 
 
 W. Sutherland Pinxt. 
 
 Lith by Kleinertz Manchester. 
 
 Griotte 
 
 Pyrennean Green, Sienna 
 

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