Having, then, all in readiness, first skim the surface of the solution lightly all over, and immediately (for when you begin it is necessary to move quickly till all the colours are on) sprinkle on the colours, beginning with the red, next yellow, thirdly, black; then with the principal or body-colour go well and equally all over, taking care to throw as much colour on one part of the surface as another; then take up a sheet of paper by the two opposite corners, and let the corner between the finger and thumb of the right hand touch the surface first, while with the left you let the paper gradually descend, till it lies flat upon the liquid. If it is let down too quickly, or the paper gets rumpled, so as to allow the air to get under it, white blotches will appear when it is taken out of the trough; and if the paper be allowed to lie long enough upon the size to draw out the blisters, still the marks will show.
In order to take the paper out, lay a lath or thin stick across the centre of the paper as it lies in the trough; let it be long enough for the ends to rest upon the edges of the trough; then take hold of the paper by the two parallel corners, lay it back over the stick, lift it out of the trough by the stick, in the same manner as it might hang across a line, and place it on a rack to dry.
No. 2.—small brown french.
This pattern is produced with precisely the same colours as No. 1, by using the iron rod previously described. It is held in the left hand, and the brush knocked against it, which causes the colour to fall in small spots, and reproduces the No. 1 pattern, as it were, in miniature.
No. 3.—brown french, with light spot.
This pattern has but two vein-colours—the red and the black. These are mixed with the mixture of gall and water, as described for the veins of No. 1. It has also two other colours. The brown is mixed in a similar manner to the brown for No. 1, but not quite so much gall and oil, to allow for the other colour flowing out upon it; and the last, or light spot, is composed of raw or unburnt Oxford ochre, and is mixed with gall, water, a few drops of olive-oil, and a portion of spirits of turpentine.
No. 4.—small yellow shell.
This is done in the same manner as No. 2 as regards the mixing and working, the only difference being in the body-colour.