This pattern has three veins and two French colours, or colours that have been mixed as French,—that is, with oil in them,—the last of which, in this instance, is the purple. Being mixed with a little more both of the gall and oil than the other, in order to make it flow out, over, and drive up the other colours, a marbler will be able, if he follows these instructions, to imitate any French pattern, whether there be more or less colours in them.
No. 6.—blue stormont
Is an old pattern, but well worthy of being revived. Though apparently very simple and easy of execution, it is nevertheless very difficult to keep in order, in consequence of the speedy evaporation and the chemical changes which are continually taking place among the ingredients with which it is mixed. It requires great quickness and acute observation on the part of the workman.
There is but one vein-colour, (red,) and the ground or body-colour is blue. The same preparation of gum and flea-seed is used for this as for the French marble. Mix the red for vein, as usual, with gall and water. The other colour must consist of good indigo alone, without which the proper effect cannot be produced. The indigo being ground, as before directed in the instructions for grinding the colours, proceed to mix the indigo with gall, water, and spirits of turpentine,—of which last ingredient it will require a considerable proportion, in order to make it break full of little holes. The acme of this pattern is to make it look like fine network. Sometimes it will happen that at first mixing it will not work, but after standing a day or two it will work well, while at other times it will work immediately. If the holes come too large from an excess of turpentine, (for they will sometimes come too large from not having enough,) add a little more gall and some fresh indigo, putting in a few drops of alum-water; but be very careful of this; for, if there be too much, it will make the colour thick and clotted: in which case have recourse to a little of the solution of potash; but it is best, if possible, to do without either of them.
No. 7.—light italian.
A very pretty though simple pattern, but requires great cleanliness of working to turn it out well. The colours being ground as before directed, proceed to mix them with gall and water only, as though they were for veins. The last colour is white; this requires a greater proportion of gall than the other colours, and a larger brush, as in the French patterns.
After skimming the size, proceed by beating or knocking on the colours,—viz.: red, green, and black, as in small French, taking especial care to have the rings of the brushes free from any accumulation of colour, or they will cause large spots or blotches, which will spoil the appearance of the work. One difference between this and the small French is that there is no oil used in any of the colours.
Another method is to use a mixture of weak gall and water instead of the white colour, and which must be firmly knocked or beaten on, proportioned by the judgment of the marbler. This method is preferable to the former for edges, and will answer quite as well for paper.