Part 6
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.
QUESTIONS ON LESSON XXXI.
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.
INDEX
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}
End of Project Gutenberg's Graining and Marbling, by Frederick Maire