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 its wealth 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 and smaller 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 every direction 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 better ones 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, and the 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 description of 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 ground and 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 or blotches 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 to the 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 done 145
Applying the rubbing in colors in graining 50
Ash graining—general remarks on 93
Ash graining—how grounds are made for 93
Ash graining—how grained in distemper 95
Ash graining—how grained in oil 94
Ash graining—how overgrained 95
Ash graining—Hungarian—how grained 96
Badger haired blenders—their uses 28
Bird’s-eye maple—how grained 101
Black and gold marble—how imitated 145
Black veined white marble—how imitated 150
Blending distemper graining 62
Brocatello marble—how imitated 145
Brushes used for laying grounds 25
Brushes used rubbing-in color 25
Burled growth of woods 75
Burled Walnut—how to grain 122
Burled Walnut—how to overgrain 123
Camel’s hair pencils used in graining and marbling 30
Champs—how wiped in quartered oak graining 41
Check rollers—how to use 53
Chestnut graining—general remarks on 156
Chestnut graining—how to grain it 157
Cherry graining—how to prepare grounds for 109
Cherry graining—how to grain it 109
Colored crayons—used in fine veinings 71
Colors used in preparing grounds in graining 21
Colors used in graining in distemper 22
Colors used in graining in oil 23
Combination oil and distemper work in oak graining 36
Curled maple—how grained 100
Davis rubber rollers used in graining 32
Description of material used in graining 23
Dove marble—how imitated 147
Egyptian green marble—how done 149
Fan overgrainers—their uses 28
Flakes—how wiped in quartered oak graining 85
Florence marble—how imitated 148
General remarks on Ash graining 92
General remarks on Bird’s-eye maple graining 100
General remarks on Chestnut graining 97
General remarks on Cherry graining 109
General remarks on Burled Walnut graining 122
General remarks on graining operations 38
General remarks on preparing grounds 41
General remarks on preparing megilps 43
General remarks on preparing graining grounds 41
General remarks on preparing graining colors 43
General remarks on Mahogany imitation 112
General remarks on Maple (plain) imitation 98
General remarks on marbles, imitation 130
General remarks on Oak graining 79
General remarks on Quartered Oak graining 84
General remarks on Rosewood graining 133
General remarks on Satinwood graining 110
General remarks on Sycamore graining 104
General remarks on making tints 42
General remarks on tools used in graining 31
Glycerine—to retard drying of distemper colors 48
Graining colors for oak 80
Granites—how imitated 160
How to do the combing in distemper 58
How to do the combing in oil 58
How to blend distemper work 62
How to do the wiping with rags 57
How to grain Ash 93
How to grain Ash (Hungarian) 95
How to grain Bird’s-eye Maple 99
How to grain Curled Maple 99
How to grain Cherry 100
How to grain Chestnut 97
How to grain Mahogany 112
How to grain Maple (plain) 96
How to grain Rosewood 127
How to grain Walnut 116
How to grain Walnut (curled) 118
How to grain Satinwood 113
How to grain Sycamore 108
How to marble Egyptian green marble 148
How to marble Florentine marble 152
How to marble Italian pink marble 150
How to marble Italian scarlet marble 150
How to marble Sienna marble 150
How to marble Serpentine marble 145
How to marble Tennessee marble 153
How to marble Verd antique marble 156
How to marble white veined and black veined marbles 157
How to imitate Onyxes 158
How to imitate Granites 160
How to imitate Jaspers 160
How to imitate Porphyries 160
How to use the Davis graining rollers 65
How to use the Ridgely graining tools 65
How to use the colored crayons 72
How to use the wax in finishing 80
Italian pink marble—how imitated 148
Italian scarlet marble—how imitated 148
Jasper—how imitated 160
Mahogany—how to prepare ground for 109
Mahogany—how to grain 112
Mahogany—how to make the featherings 115
Maple, plain—how to prepare the ground 99
Maple, plain—how to grain 99
Maple, bird’s-eye—how to grain 101
Maple, bird’s-eye—how to put in the eyes 104
Marbling—general remarks on 130
Marbling—imitation of agate 145
Marbling—imitation of black and gold marble 146
Marbling—imitation of Brocatello marble 147
Marbling—imitation of Dove marble 148
Marbling—imitation of Egyptian green marble 148
Marbling—imitation of Florence marble 152
Marbling—imitation of Italian pink marble 150
Marbling—imitation of Italian scarlet marble 150
Marbling—imitation of Serpentine marble 152
Marbling—imitation of Tennessee marble 153
Marbling—imitation of Verd antique marble 156
Marbling—imitation of white and black veined marble 157
Marbling—imitation of Onyxes 158
Marbling—imitation of Granites 160
Marbling—imitation of Porphyries 160
Marbling—imitation of Jaspers 160
Material used in graining 21
Mottlers—their uses 29
Mottling—how done in distemper 73
Oak graining—general remarks on 79
Oak graining—how to grain 84
Oak graining—how overgrained 86
Onyxes—how to imitate 160
Old varnished work—how to treat it for graining 41
Old woodwork—how to treat for graining 40
Overgraining—the use made of it 62
Overgraining—how to use the four overgrainers 63
Pencilling the veining in distemper 61
Pencilling the veining—how done 61
Porphyries—how imitated 160
Practice boards—to study graining upon 77
Quarter-sawed Oak—general remarks on 84
Quarter-sawed Oak—grained in distemper 88
Quarter-sawed Oak—how the dark flakes are put on 96
Quarter-sawed Oak—how the checkroller is used 91
Quarter-sawed Oak—how overgrained 91
Quarter-sawed Oak—how wiped out 89
Quarter-sawed Oak—how finished 95
Rags—their use in graining 37
Ridgely rubber graining tools 34
Rosewood graining—general remarks on 126
Rosewood graining—how to make the grounds 127
Rosewood graining—how to grain it 128
Rosewood graining—how to overgrain it 129
Rubber graining rollers (Davis) 32
Rubber graining combs 35
Rubbing in color in oil in graining 49
Rubbing in color—how applied 52
Satinwood—how grained 100
Serpentine marble—how imitated 146
Sienna marble—how imitated 150
Stippler—its use in graining 27
Stippling—for walnut—how done 119
Stippling—general rules for 55-75
Sponges—their use in distemper 74
Steel graining combs 35
Varnish brushes used in graining 30
Varnishing—how it should be done 81-87
Verd antique marble—how imitated 156
Walnut graining—general remarks on 116
Walnut graining—grounds for 118
Walnut graining—how to stipple for 119
Walnut graining—how grained in oil and distemper 120
Walnut graining—how overgrained 121
Wax used in preparing megilp 22
Wax polish—how applied 82
Whiting—its uses in preparing megilps 23
White veined marble—how imitated 149
Wiping out—what it means 56
Wiping out—how done 57
Woods—how classed 83
| Typographical errors corrected by the etext transcriber: |
|---|
| bevelled to a sharpe edge=> bevelled to a sharp edge {pg 36} |
| are two short for use=> are too short for use {pg 77} |
| no dofficulty=> no difficulty {pg 94} |
| is a synonim=> is a synonym {pg 104} |
| most fastiduous=> most fastidious {pg 122} |
| has sufficied to confine=> has sufficed to confine {pg 126} |
| prefering a plain wall=> preferring a plain wall {pg 131} |
| should be attemped=> should be attempted {pg 140} |
| General remarks on preparing meglips....43=> General remarks on preparing megilps....43 {pg iv} |
| Marbling—imitation of Brocatella marble....147=> Marbling—imitation of Brocatello marble....147 {pg vi} |