Many years ago this old Dutch paper, in the size of foolscap, was imported into England, wrapped round small parcels of Dutch toys, and thus passed free of duty. When taken off, it was carefully smoothed and sold to bookbinders, commanding a high price, being only used on the better kinds of work. Indeed, so choice was it that you may still see in some old books the inside-linings made of pieces carefully joined together. Something of the art has unfortunately been lost since that time, for both the colours and the execution of some of these old specimens far surpass the best efforts of the most celebrated modern marblers.
It is proposed, however, to show, as clearly and briefly as possible, how it is done and practised at the present day by the best English workmen, and to describe the various processes in such a manner as will enable any individual possessed of a common share of understanding and discernment, to do it himself; and, where there are two ways of doing it, that will be described which experience has pronounced to be easiest and best.
In describing one pattern, that will be considered sufficient to include all of the same class, or that are done in the same manner, although different colours may be used. For instance, a brown may be described, and green, being the same in every respect as regards the mixing and working the colours, may be substituted for the brown; and so in regard to other colours.
COLOURS.
The colours required for marbling are the same as those ordinarily used for painting both in oil and distemper. They should be procured in a dry state, just as they are produced or manufactured, and ground by the marbler himself. A list is subjoined:—
REDS.
Drop Lake.
Peach-wood Lake.
Vermilion.
Rose-Pink.