ITALIAN PINK MARBLE AND SCARLET MARBLE.
155. Really this marble and the Italian scarlet marble are only variations of sienna marble, and as the variation consists altogether in the coloring of the marble and not at all in its veining and other forms, there will be no need of telling “how†it should be done, as that is related under the heading of sienna marble in the following paragraph. For color venetian red lightened up to a pink with white lead is used instead of that described, and in the scarlet variety vermillion toned down with venetian red.
SIENNA MARBLE.
156. This marble is more extensively imitated than any of the others, with the exception of white marble black veined, and there is no wonder that it is so with itswealth of forms. No matter what one may fancy or do it is pretty sure to look like some specimen of it has done before if the same character is kept up to the end. It is true some forms are more pleasant than are others, and that is true really in all marbles, so that the student should not spend much time in trying to do something which is considered an inferiority in the sienna marble itself. The most pleasing forms are clumps of darker color overrun with veinings and intervals of lighter tone also veined, but usually with much lighter toned veins than the set occupying the darker clumps. But some of the light as well as the darker ones usually trespass some upon each other’s ground, and in some specimens clumps of very fine dots extend over some of the light areas instead of veins.
The ground should be put in with white and the larger clumps put in with raw sienna and blended. Then some of the intervals may be connected with lighter toned andsmaller clumps, also made with the raw sienna upon the still wet ground. Proceed afterward to put in darker broad veins with the artist’s bristle brushes and blending them. After the blending, put in the white veining, which, of course, will mix with the still wet ground, but that will give it the transparent effect if when the work has dried they are touched up here and there with flake white to give them their character. The darker veinings should also be touched up in order to emphasize them and make them look transparent. Variations galore will suggest themselves to the student who has made a study of these marbles from natural specimens.
FLORENCE MARBLE.
157. The ground for this marble is a neutral tone of red made with white lead and Indian red. The veining should be put in with burnt umber and a second set with burnt sienna, a few of each running in everydirection without any regularity. This veining must be done while the ground is still wet in order that the ends may blend in with it and seem to disappear into it. Sometimes the veining runs out of clumps and seems to break forth, leaving some parts nearly free of veinings, and then suddenly to spring up into a network as intricate as seen upon a nutmeg melon.
TENNESSEE MARBLE.
158. This is an American marble. It is usually of a mauve or bluish violet tone, and of a medium between dark and light, some specimens being rather dark. As it is plentiful and cheap much of it does not show up at its best, but there are some specimens which are very beautifully marked. As all other marbles, it has an infinity of showings. Its general character is an all-over veining. Some specimens, however, showing a few patches of plain white of considerable extent, and in all the betterones some large thick white veins with a number of smaller ones running in a wild way radiating from them, but with a distinct tendency to run in the same direction as the large white veins spoken of. Then there is another set of smaller veining of the same tone as the ground, but much deeper scattered nearly all over it. The ground should be put on with white paint and color made from Indian red deepened with Prussian blue, dabbed on nearly all over it and blended into the white, leaving a few patches of white and the larger fissure veins where desired, although these can be put on after the ground has become dry. Much of the smaller veining should be put on before the ground is dry in order to mix with it and give the transparent effect so much desired. Afterward the stronger high light effects in the large white veins and in some of the parts of the smaller ones should be touched up with flake white, andthe darker veins should be touched up here and there also with the darkest color.
155. Describe how Italian pink and Italian scarlet marbles are imitated?
156. How is sienna marble imitated?
157. How is Florentine marble reproduced?
158. What is said concerning the imitation of Tennessee marble?
SERPENTINE MARBLE.
159. This marble is probably but a variation of the verd antique, which it closely resembles in all its colorings. It contains more veinings than the other, although it, too, shows up clumps of conglomerate very much the same in formation; as a full descriptionof verd antique is given in the subsequent paragraph, the student can vary from the directions given in so far as to introduce the veinings mentioned which the other has but few of.
VERD ANTIQUE.
160. Verd antique marble is really a modified Egyptian, being somewhat more blotchy than its cousin the Egyptian green marble. The ground should be made from Prussian blue and yellow ochre to make a brownish green, then dab some of each of the separate colors blue and yellow where the blotches are desired; then connect them by veinings and blend, touching up afterwards with fresh color parts which should show prominently, but be careful not to overdo this, as but little of the full tone of the yellow should show or it will make it look unnatural.
WHITE VEINED MARBLE.BLACK VEINED WHITE MARBLE.
161. These two marbles are bracketed together, as with the exception of the ground color and the reversing of the color used in the veining they are so much alike that the same description will do for each of them. They are veined marbles, and many specimens show fissures which for the sake of naturalness and variety may be imitated but very sparingly, as really it is a defect.
The ground for these marbles should be white lead; for the white veined proceed to dab on patches of black with a small tool and blend the black with the white all over, but have the ground darker in parts than in others, varying from a gray to nearly true black, but of the latter sparingly. A few white blotches and main white coarse veins are left, and the white veins are put in with flake white, which will blend into the groundand serve to give the proper transparency. When dry the pure white veins must be touched in order to bring them out.
For the black-veined variety the white lead ground is gone over here and there, but not too much of it, with a touch of black which must be vigorously worked into the white to produce a few blotches of light, faint gray not prominent at all. The veining is gray of a trifle darker tone, which is called black by courtesy and as a contrast to the white of the ground.
162. The above comprise about all the leading varieties of marbles. There are many other varieties, chiefly of those described, and differing from them chiefly in their coloring, their imitation being the same excepting that.
ONYXES.
163. Onyxes differ from those stones which are known as marbles chiefly in that they are more transparent. The clumps orblotches of variously colored component parts of the conglomerate are much more diversified than can usually be seen in marbles and according to the angle at which they are cut present an endless variation. Sometimes whole slabs show the conglomeration cut across; again in others considerable blank space is found in close proximity and again serpentine waves of veins looking very transparent run around the clumps, etc. Nothing but a close study of the natural stone can give one a perfect idea of their vagaries of form. The general directions given in paragraphs 140 to 149 cover all that could be said here as to the manner of imitating them and the student who has carefully followed the descriptions which are specially given under each marble will find no great difficulty in imitating the variously colored onyxes.
GRANITES, PORPHYRIES AND JASPERS.
164. All the above are closely related and may be bracketed together in describing their imitation. According to their predominating colors they are known as red, gray, white, etc., and have usually the name of the countries from which they come given them in addition.
The ground color should consist of the leading or predominating color, and the rest of the spots are put in by sprinkling or striking the brush against a stick. When the colors have commenced to set, but before they have dried and while still partly wet, turpentine should be sparingly sprinkled upon the work, which will cause the spots to spread and run into each other, but it must not be overdone or a mess will be the result. A little fine flaked mica may be sprinkled upon the work after it is finished, also before drying has been completed; this will give more naturalness tothe granite imitations; the porphyry and jasper do not need it.
159. Describe the character of serpentine marble?
160. How is verd antique marble imitated?
161. How are white-veined black marble and black-veined white marble imitated?
162. What is said of other varieties of marbles?
163. How are onyxes imitated?
164. What is said regarding the imitation of granites, porphyries and jaspers?
FINIS.
A,B,C,D,E,F,G,H,I,J,M,O,P,Q,R,S,V,W.
Agate marbling—how done145Applying the rubbing in colors in graining50Ash graining—general remarks on93Ash graining—how grounds are made for93Ash graining—how grained in distemper95Ash graining—how grained in oil94Ash graining—how overgrained95Ash graining—Hungarian—how grained96Badger haired blenders—their uses28Bird’s-eye maple—how grained101Black and gold marble—how imitated145Black veined white marble—how imitated150Blending distemper graining62Brocatello marble—how imitated145Brushes used for laying grounds25Brushes used rubbing-in color25Burled growth of woods75Burled Walnut—how to grain122Burled Walnut—how to overgrain123Camel’s hair pencils used in graining and marbling30Champs—how wiped in quartered oak graining41Check rollers—how to use53Chestnut graining—general remarks on156Chestnut graining—how to grain it157Cherry graining—how to prepare grounds for109Cherry graining—how to grain it109Colored crayons—used in fine veinings71Colors used in preparing grounds in graining21Colors used in graining in distemper22Colors used in graining in oil23Combination oil and distemper work in oak graining36Curled maple—how grained100Davis rubber rollers used in graining32Description of material used in graining23Dove marble—how imitated147Egyptian green marble—how done149Fan overgrainers—their uses28Flakes—how wiped in quartered oak graining85Florence marble—how imitated148General remarks on Ash graining92General remarks on Bird’s-eye maple graining100General remarks on Chestnut graining97General remarks on Cherry graining109General remarks on Burled Walnut graining122General remarks on graining operations38General remarks on preparing grounds41General remarks on preparing megilps43General remarks on preparing graining grounds41General remarks on preparing graining colors43General remarks on Mahogany imitation112General remarks on Maple (plain) imitation98General remarks on marbles, imitation130General remarks on Oak graining79General remarks on Quartered Oak graining84General remarks on Rosewood graining133General remarks on Satinwood graining110General remarks on Sycamore graining104General remarks on making tints42General remarks on tools used in graining31Glycerine—to retard drying of distemper colors48Graining colors for oak80Granites—how imitated160How to do the combing in distemper58How to do the combing in oil58How to blend distemper work62How to do the wiping with rags57How to grain Ash93How to grain Ash (Hungarian)95How to grain Bird’s-eye Maple99How to grain Curled Maple99How to grain Cherry100How to grain Chestnut97How to grain Mahogany112How to grain Maple (plain)96How to grain Rosewood127How to grain Walnut116How to grain Walnut (curled)118How to grain Satinwood113How to grain Sycamore108How to marble Egyptian green marble148How to marble Florentine marble152How to marble Italian pink marble150How to marble Italian scarlet marble150How to marble Sienna marble150How to marble Serpentine marble145How to marble Tennessee marble153How to marble Verd antique marble156How to marble white veined and black veined marbles157How to imitate Onyxes158How to imitate Granites160How to imitate Jaspers160How to imitate Porphyries160How to use the Davis graining rollers65How to use the Ridgely graining tools65How to use the colored crayons72How to use the wax in finishing80Italian pink marble—how imitated148Italian scarlet marble—how imitated148Jasper—how imitated160Mahogany—how to prepare ground for109Mahogany—how to grain112Mahogany—how to make the featherings115Maple, plain—how to prepare the ground99Maple, plain—how to grain99Maple, bird’s-eye—how to grain101Maple, bird’s-eye—how to put in the eyes104Marbling—general remarks on130Marbling—imitation of agate145Marbling—imitation of black and gold marble146Marbling—imitation of Brocatello marble147Marbling—imitation of Dove marble148Marbling—imitation of Egyptian green marble148Marbling—imitation of Florence marble152Marbling—imitation of Italian pink marble150Marbling—imitation of Italian scarlet marble150Marbling—imitation of Serpentine marble152Marbling—imitation of Tennessee marble153Marbling—imitation of Verd antique marble156Marbling—imitation of white and black veined marble157Marbling—imitation of Onyxes158Marbling—imitation of Granites160Marbling—imitation of Porphyries160Marbling—imitation of Jaspers160Material used in graining21Mottlers—their uses29Mottling—how done in distemper73Oak graining—general remarks on79Oak graining—how to grain84Oak graining—how overgrained86Onyxes—how to imitate160Old varnished work—how to treat it for graining41Old woodwork—how to treat for graining40Overgraining—the use made of it62Overgraining—how to use the four overgrainers63Pencilling the veining in distemper61Pencilling the veining—how done61Porphyries—how imitated160Practice boards—to study graining upon77Quarter-sawed Oak—general remarks on84Quarter-sawed Oak—grained in distemper88Quarter-sawed Oak—how the dark flakes are put on96Quarter-sawed Oak—how the checkroller is used91Quarter-sawed Oak—how overgrained91Quarter-sawed Oak—how wiped out89Quarter-sawed Oak—how finished95Rags—their use in graining37Ridgely rubber graining tools34Rosewood graining—general remarks on126Rosewood graining—how to make the grounds127Rosewood graining—how to grain it128Rosewood graining—how to overgrain it129Rubber graining rollers (Davis)32Rubber graining combs35Rubbing in color in oil in graining49Rubbing in color—how applied52Satinwood—how grained100Serpentine marble—how imitated146Sienna marble—how imitated150Stippler—its use in graining27Stippling—for walnut—how done119Stippling—general rules for55-75Sponges—their use in distemper74Steel graining combs35Varnish brushes used in graining30Varnishing—how it should be done81-87Verd antique marble—how imitated156Walnut graining—general remarks on116Walnut graining—grounds for118Walnut graining—how to stipple for119Walnut graining—how grained in oil and distemper120Walnut graining—how overgrained121Wax used in preparing megilp22Wax polish—how applied82Whiting—its uses in preparing megilps23White veined marble—how imitated149Wiping out—what it means56Wiping out—how done57Woods—how classed83