FORWARDING.
This branch of the art may be divided into several parts. We will give
precedence to that branch or class of forwarding that requires the
utmost precision and opens to the ambitious forwarder a field of
exertion worthy of his best efforts. Let the workman who strives to
excel in his art remember that his work goes through the hands
of critics and judges; that it possibly may be compared with the
productions of the most celebrated artists. Let him, then, look well
to his laurels if engaged upon first-class job or
CUSTOMER WORK.
The book being taken from the sewing-press, the end-papers and the
first sheet are then turned back. A strip of paper is placed about
one-eighth of an inch from the back, so as to prevent the paste from
spreading unevenly, and paste is then applied with the finger along
the edge of the sheet. The sheet is turned over, and the same process
repeated to the first and second leaves of the end-papers, if the book
is to be lined with buff or brown paper. After the papers have been
cut to the proper size and evenly folded, they are pasted along the
folded edge in the same manner as the end-papers were. The first leaf
of the end-paper is then turned over, and the lining-paper laid full
up to the back-edge of the book. If this be done carelessly, or not
entirely straight and square from end to end, the future appearance
of the book will be considerably marred. As much of the beauty of the
joint depends upon the manner in which the lining has been performed,
if it is intended to line with marbled paper, after turning over the
end-leaf, place the lining as near as possible to the back-edge, so
as to expose to the action of the brush almost the entire leaf of the
end-paper that lies on the book. Paste this lightly over; then place
the lining upon it, and rub it even and smooth with the hand. In
either case it should be left to dry before the end-paper is folded
down to its place, as it is liable to force the lining-paper from
the back. A better method is to paste the marble-paper upon the white
end-paper before it is inserted in the book. The papers may then be
lightly pressed, to make them perfectly smooth, and hung upon lines
to dry. By this process there is no fear of the book being wrinkled by
the dampness from the lining-paper. Attention should be paid that such
papers only as will blend well with the colour of the leather intended
for the cover are used.
If a joint of calf or morocco is required, all that is necessary for
the forwarder to do is to tip the back-edge of the lining that goes
next to the book very slightly, merely to secure it until it reaches
the finisher, and place one or two guards of stout paper along the
joint, to be afterwards torn out by the finisher.
These matters being adjusted, the end-paper turned back to its place,
and the twine on which the book has been sewn pulled tight, care
having been taken to avoid pressing the twine against the end-papers,
on account of their liability to tear near the bands, the bands which
are intended to be laced in the boards must be opened, or the strands
separated with a bodkin and scraped with a dull knife so as to bring
them to a point and make them more convenient to pass through the
boards which are to form the side covers.
The book is now taken between the hands and well beaten up at the
back and head on a smooth board, or on the laying-press, to bring
the sheets level and square, as the beauty of the book, in all the
subsequent operations, depends much on the care and attention paid in
this place. The volume is then laid carefully upon a board, with the
back to the edge of the board, a strip of pasteboard is laid on the
upper side, the book placed in the laying-press, and the back evenly
glued. The glue should be well rubbed in between the sheets, taking
care that the sheets are even on the back and the volume equal in
thickness throughout the whole length. It is then laid on a board to
dry, but must not be placed before the fire, as, by so doing, the glue
becomes hard and liable to crack in the process of
ROUNDING.
In commencing this operation, the book is placed upon the laying-press
with the fore-edge towards the workman; the left hand should then be
placed flat and open upon it, the thumb towards the fore-edge. With
the four fingers the volume is slightly bent and the upper portion
of the back drawn towards the workman. The right hand is then engaged
with a backing-hammer in lightly tapping the sheets with an upward
motion from the centre of the back. The volume is then turned upon the
other side, and the operation is repeated until it is evident that
the book has acquired a sufficient round. The left hand is held to the
back while the round is pressed into the fore-edge with the fingers of
the right. The volume is then held up and the back carefully examined
to ascertain if the round is perfectly regular, and, if not, it
must be again submitted to light blows of the hammer until the back
describes a portion of a perfect circle. Care should be taken that
the round be not too flat for the thickness of the volume, or, on
the other hand, that it does not become what is called a pig-back,--a
horrible monstrosity in binding, having a sharp ridge in the centre of
the back. If the round be not regular and even from the centre to the
edges, as well as from head to tail, and entirely free from twist, no
after-skill or care can overcome the evil, but it will ever remain
to prove the want of care or the incapacity of the workman. The next
process, and equally important, is that of
BACKING,
which is done to form the groove for the reception of the boards. One
of the backing-boards is placed upon the volume at an equal distance
from the back, the distance depending upon the thickness of the board;
then, turning the volume, the other is placed in a similar manner; the
boards are then firmly grasped by the left hand across the back, and,
with the assistance of the right hand, the whole carefully put into
the laying-press, the edge of the boards nearest the back of the
volume even with the cheeks of the press, and screwed up with the
press-pin as tight as possible. The backing-hammer is then taken in
the right hand and employed in turning the sheets from the centre over
the backing-boards, to form the necessary groove. For this purpose the
first blows should commence near the centre of the volume, and should
be as light as possible, the blows glancing towards the edge, so as
to merely commence the turning of the sheets, without causing any
indentations or wrinkles on the inside of the volume. This should be
proceeded with lengthwise of the volume, each series of blows growing
gradually nearer to the edge or backing-board, and, as they
approach, becoming more firm, until the sheets are turned over the
backing-board, so as to form a regular and solid groove. The process
is repeated up the other side, the volume examined to see if the
back is regular and equal in its circle throughout, and any slight
irregularities corrected by light taps of the beating-hammer; but
nothing can justify a workman in striking a heavy blow near the centre
of the back, as it must inevitably crush and wrinkle the paper on the
inside. It serves but to prove his ignorance of the principle upon
which the entire operation is based. There is nothing connected with
the forwarding of a book that requires more attention, patience,
and skill, than the rounding and backing, and there is nothing that
contributes more to the general appearance of the volume. If
well done, it gives a character and a tone to all the subsequent
operations; if done badly, no care or skill that may be afterwards
employed can hide it. It remains an enduring mark of a careless or
inefficient workman. The volume is now ready for the boards, which
have been previously prepared. This is done by cutting the sheets of
milled-boards according to the size of the book, with the table or
patent-shears. One side of the board is then lined with paper, the
shrinkage of which will cause the board to curl towards it. If the
volume be large, or a thick board be required, it will be necessary
to paste two or more thicknesses of board together. Place them in the
standing-press, under pressure, until dry; then take them out and line
them on the side of the board that has been pasted, or, if one board
be thinner than the other, upon the thin board, in the same manner as
the single board. Boards made in this manner should always be
prepared some length of time before they are used. The boards being in
readiness, the volume is taken and one point of the compasses placed
at the centre of the back, and the other point extended towards the
fore-edge until it reaches the edge of the smallest bolt. This will
give the proper size to cut the boards, as the groove or joint will
give the projection or square of the board. If the volume be rare and
valuable, let the workman be merciful in the use of his steel, as the
cropping of ignorant workmen has impaired the value of many a choice
tome. If it be intended that the leaves are to remain uncut, previous
to the rounding of the volume, take a large butcher's-knife and
carefully trim the extreme ends of the projecting leaves. After the
size has been obtained, the next operation is
SQUARING THE BOARDS.
This is done by cutting the back-edge of the boards with a plough in
the laying-press; the boards are then marked with the compasses
from the edge which has been squared towards the front; the front
cutting-board is placed at the compass-holes, and again put in press,
with the front cutting-board or runner level with the cheek of the
press, the back-board being a little higher, so as to allow the
plough-knife to cut against it. The rough part is cut off with the
plough as hereafter described, with this difference:--that, in cutting
pasteboards, the workman cuts towards him. The boards are then taken
out of press, and the square applied to the head, and marked with the
point of a bodkin; this is cut off in the same manner. The volume
is then opened and examined for the purpose of finding a leaf of an
average length, which is measured by placing the thumb of the left
hand against the edge of the head and applying against it one of the
points of the compasses, carrying the other so much over the end of
the leaf as will allow for the square of the boards at the tail; and
if the volume be large for a portion of the square at the head, the
superfluous portion is then cut off with the plough. In taking the
size, let the workman recognise as a rule that every book should be
cut as large as possible, lest he be suspected of having an eye more
to the shaving-tub than to his reputation as a binder. Among the early
binders, De Rome is noted for his merciless cropping. But few volumes
have preserved the integrity of their margins after having been
submitted to the cruel operation of his steel. A volume cut to the
print is said to bleed; therefore be careful to avoid the slightest
approach towards the commission of such an act of Vandalism. The
boards having been squared for the back, front, head, and tail,
they are placed, with the lined side of the board next to the book,
preparatory to the
LACING IN.
Each board is then marked with a bodkin opposite to the slips intended
to be laced in; a hole in a vertical position is then made through the
board, and being turned, another in the same way near to the first.
The bands, having been pasted and passed in above, are returned
through the other hole, and, being pulled tight, the boards will
necessarily be perpendicular to the back, and confined in the groove.
After cutting off the end of the strings near to the lace-holes, they
must be beaten well and evenly into the board by placing the under
part on an iron (called the _knocking-down iron_) fixed at the end of
the laying-press, and beating above with the backing-hammer.
If it be desirable that the bands should not be seen inside, the hole
may be made so vertical that, by placing the bodkin in the same on the
other side, another verging a contrary way to the first may be made,
and the band, being passed in this one continued hole, will not be
seen underneath. The liability, however, of its tearing out is an
objection, and from this cause the common way, with care in beating
down, is preferable.
After the slips have been well beaten down, the roundness of the back
must be examined, and any twist that is perceptible corrected with the
backing-hammer. A piece of smooth tin, larger than the volume, must
then be inserted between each board and the book, with one edge of
the tin full up to the joint. The volume is next placed between
pressing-boards even with the joint, and put into the standing-press,
which must be screwed tight and evenly down. Stewart's double-screw
iron standing-press is well adapted for the purpose, and is in very
general use. After the press has been screwed down, the back of the
volume is then damped with thin paste, and, according to the firmness
of the sewing and book, grated and scraped, and finally rubbed smooth
with paper-shavings, and left to dry in the press for as long a time
as possible. If a large volume, it is usual to apply a little glue to
the back. When taken out of the press, the boards must be disengaged
from the end-papers, where they adhere, so that they may move freely
up and down in the cutting.
CUTTING THE EDGES.
[Illustration]
The manner of preparing the volume for cutting is very important, as
swerving from right angles in cutting the head and tail will present a
disagreeable appearance. Every precaution must be taken to insure the
volume being cut perfectly square. The front-board is drawn down from
the head just sufficient for the knife to operate upon in the cutting.
A piece of trindle is inserted between the volume and the back-board
for the point of the knife to cut against. The volume is then placed,
with the back towards the workman, on a cutting-board in the left
hand; the _runner_ or smooth-edged board is then fixed on the other
side, with the right hand, even and square with the edge of the
mill-board, and the whole, held tight with the left hand, put into
the cutting-press, to the level of the right-hand cheek of the same,
taking care that the volume hangs perpendicular to the cheeks of the
press. Being screwed tight with the pin, the workman then takes the
plough with the right hand, by the head of the screw, and, placing
it on the groove of the press, proceeds to cut the book, holding the
other end of the screw firmly with the left hand, and causing the
knife to advance gradually through the book by turning the screw
gently as he cuts, which should be all one way,--viz.: as the arms are
removed from the body. The plough must be held firm in the groove or
guides of the press, to prevent the knife jumping or cutting the edges
uneven; and, should the knife be found to run up or down, the defect
must be remedied by removing some of the paper or boards placed under
the knife where it is fastened to the plough. If there should be none
required to bring the knife even with the plough, then a piece must
be placed on whichever side of the _bolt_ the defect may require. The
head being cut, the same operation is repeated for the tail.
Much precaution is necessary in cutting the fore-edge. Mark the book
with a bodkin on the projecting part of the end-papers, and on each
side, at the head and foot, close to the square side of the boards,
drawing a line from one to the other; then, laying the boards open,
insert a trindle at each end of the volume, under the back, so as
to throw the round out; then wind a piece of fine cord several times
round from the head to the tail, to prevent the leaves returning after
the back is made flat, to form the gutter on the fore-edge. This done,
beat the back flat on the press, and place one of the cutting-boards
at the end of the book, even with the line before made; turn it, and
place the runner as much below the line on the title-side as has been
allowed for the square on the fore-edge. Taking the whole in the left
hand, the volume must be examined to remedy any defects, should it not
be regular and equal on both sides, and then put into the press, the
runner as before even with the right cheek, taking care to keep the
other board projected above the left, equal to the square allowed in
front, so that, when cut through, the fore-edge may be equally square
with the boards on each side. After the fore-edge is cut, the string
is taken off, the back resumes its circular form, and the edge
in consequence presents a grooved appearance, which puzzles the
uninitiated to ascertain how it is produced. The method above
described is called "cutting in boards," and is superior to any other.
It is of the utmost importance to the young workman that he should
pursue and acquire a methodical system in all his operations. Select
the best method, as a matter of course, and then adhere to it. Do not,
every time you perform one particular process, do it in a different
manner. For instance: in backing or in turning up your books, it is
better to always have the head towards you; in cutting head and tail,
to have the back nearest you. In laying your work down, always do it
in one way. Let that way be the one whereby you can most conveniently
take it up again. Much time may be wasted, from inattention to these
particulars, in the unnecessary handling and confused manner of
working. It will be found that the best and most expeditious workmen
are those who do their work in a systematical manner. In taking leave
of this department, our parting admonition to the young workman is,
STRIVE TO EXCEL. Do not be content if your work will merely pass, and
say to yourself, "Oh, that is good enough!" If it is possible for
you to do it better, it is not good enough. Employ your reasoning
faculties as well as your physical powers, so that you do not sink
into a mere machine. When performing a process, ask yourself the
question, "Why is this done? What is the object of it? Can the process
be improved?" You will find the hand to be an apt instrument of
the mind and will, and that you will speedily be recognised as an
intelligent workman. Have, at least, this much ambition.
The next process which the volume must undergo is the gilding or
colouring of
THE EDGES.
Colouring the edges with one colour, equally sprinkling over,
marbling, and gilding, come under this head; and the style of ornament
of this description must depend on the price allowed for the work,
and will vary according to the taste of the workman and wish of the
employer.
OF COLOURING AND SPRINKLING.
The colours most used are brown and red, in preparing which it is
necessary to grind them in water, very fine, on a slab, with a muller.
Each colour is then placed in a separate vase, and mixed up with a
little paste and water to the proper consistency for use. To procure
a better edge, two drops of oil and about an equal quantity of vinegar
and water may be mixed with the paste.
In colouring the edges equally over, the boards at the head of the
volume must be beat even with the edges, and the book rested on the
edge of the press or table; then, holding the book firm with the
left hand, the colours must be applied with a small sponge or brush,
passing it evenly upon the edge, proceeding towards the back one way
and the gutter the other, to avoid a mass of colour being lodged in
the angle of the fore-edge. This done, the other parts are similarly
coloured, the fore-edge being laid open from the boards and a runner
held firm above to prevent the colour searching into the book. It will
be perceived that a dozen volumes may be done at the same time with
scarcely more than the additional trouble of placing one above the
other. For further security, and to prevent the colour searching into
the books, it is advisable to put them into the laying-press and screw
them moderately tight. In fact, for all good work, this must be done.
In sprinkling, it is usual to tie together a number of volumes with
a board on each side of the outside books, or place them in the
laying-press first, with the heads upwards; then, with a large brush,
similar to a painter's, dipped in whatever colour may be wished, and
well beat on the press-pin over the pot till the sprinkle becomes
fine, the edges are covered. The pin and brush are held sufficiently
above the book, and the edge sprinkled by beating lightly at first,
and stronger as the brush becomes less charged with colour, being
careful that the spots are as fine as possible, the sprinkle being
thereby made more beautiful.
The cleanest method, and at the same time the surest to produce a fine
sprinkle, is to use a wire sieve and a stiff brush, something like a
shoe-brush, for convenience. The sieve should be oval in form, with
a very thick wire running round the edge until they meet, then
projecting about a foot from the sieve so as to form a handle, the
whole somewhat resembling in shape the bat used by ball-players.
Fine brass wire is the best for the sieve. The wire should be about
one-fourth of an inch apart. After every thing is in readiness, dip
the stiff brush in the colour and lay the sieve over the pan, and rub
the brush over it to get rid of the superfluous colour, which will
drop into the pan; then knock off all the loose colour adhering to the
sieve; then hold the sieve over the books, and rub the brush over the
wires, lightly at first, and afterwards harder as the brush loses
the colour. The colour will descend like a fine mist, and the effect
produced upon the edge cannot be equalled by the old method. Several
colours are sometimes used with very pleasing effect; some of these
combinations will be described, and many others will readily occur to
the workman as his taste may suggest.
COLOURS.
Of vegetable colours, and ochres, directions for mixing which have
been given above, it will only be necessary to particularize the most
approved and generally-used substances. The liquid ones will require a
more lengthened description.
BLUE.--Indigo and Prussian blue, with whiting for lighter shades.
YELLOW.--Dutch pink, King's yellow, and yellow orpine.
BROWN.--Umber, burnt over the fire.
RED.--Vermilion; or Oxford ochre, burnt in a pan.
PINK.--Rose-pink; to make it brighter, add lake.
GREEN.--The first and second mixed to any shade.
The liquid or spirit colours will be found best for use, as the edges
will not rub, which all other colours are liable to do. Some of the
receipts are well known; but, it being necessary to give a faithful
record of the art, the whole of the colours used and modes of
preparation will be presented.
BLUE.
Two ounces of the best indigo, finely powdered, mixed with a
teaspoonful of spirit of salts and two ounces of best oil of vitriol.
Put the whole into a bottle, and let it remain in boiling water
for six or eight hours, and mix with water as wanted to the shade
required.
YELLOW.
French berries, saffron, or faustic chips. Boil with a small portion
of alum; strain and bottle for use.
GREEN.
The two colours above will make an excellent green used in proportions
as the shade required. Another green may be made by boiling four
ounces of verdigris and two ounces of cream of tartar till a good
colour is produced.
ORANGE.
Two ounces of Brazil dust, one ounce of French berries, bruised, and a
little alum. Boil in water and strain.
RED.
Brazil dust, half a pound; alum, two ounces, well powdered; boiled
in a pint of vinegar and a pint of water till brought down to a pint.
Strain and bottle. The red edges now in vogue are made with vermilion,
mixed with vellum-size. The better class are scraped before they are
coloured, and afterwards they are burnished.
PURPLE.
Logwood chips, in the proportion of half a pound to two ounces of
alum, and a small piece of copperas, boiled in three pints of soft
water till reduced a third, will make a good purple.
Brazil dust, submitted to the action of strong potash water, will make
a good purple for immediate use, but will not keep.
BROWN.
A quarter of a pound of logwood, and the same quantity of French
berries, boiled together. If a darker shade is required, add a little
copperas. Plain brown edges are made with burnt umber, in the same
manner as that described for red edges.
With these colours, edges of books may be sprinkled to almost an
infinite number of patterns. A few will be given; for, though fancy
sprinkles are seldom used where the binder can get the edges of extra
books marbled, they will be of use to those who would find marbling a
work of too great preparation and expense for a small number of books
in places where there is no marbler.
RICE MARBLE.
This pattern has been so called from the use of rice; but linseed, or
bread crumbs, will answer the same purpose. The rice is laid on the
edge of the book according to fancy, and the edge sprinkled with any
colour, the rice thus forming blank spaces. The edge may be coloured
previously all over, or sprinkled with a lighter shade.
WHITE SPOT.
Take white wax and melt it in a pot; then with a brush throw some upon
the edge of the book; when it is set, colour the edge with a sponge.
Take the book and give it two or three smart knocks on the end of the
press, when the wax will fly off and a beautiful white spot remain.
This pattern may be much varied by using two or three colours or
sprinkling the edge before the wax is thrown on, and, after it is,
again with other colours.
Whiting mixed with water to a thick consistency will nearly answer the
same purpose, and is less expensive than wax.
FANCY MARBLE.
Take a small portion of rose-pink, green, or any other vegetable
colour, and well bray it on the slab with the muller, till reduced to
a fine powder. Prepare a dish, or other vessel, large enough to admit
the fore-edge of the book, and filled with clear water; then with the
_palette-knife_ mix a portion of the colours with spirits of wine, and
convey with the knife some of the same to the middle of the vessel,
and allow it to flow gradually on the surface of the water. The spirit
of wine will cause it to spread in a diversity of pleasing forms,
when the edge of the book must be dipped in the same manner as for
marbling, and a very neat pattern will be produced at a trifling cost,
as no more colour need be mixed than wanted at each time.
GOLD SPRINKLE.
After the edges of the book are stained with any of the colours
above described, a good effect may be given by sprinkling with a gold
liquid, made in the following manner:--Take a book of gold and half an
ounce of honey, and rub them together in a mortar until they are very
fine; then add half a pint of clear water and mix them well together.
After the water clears, pour it off and put in more, till the honey
is all extracted and nothing left but the gold; mix one grain of
corrosive sublimate with a teaspoonful of spirits of wine, and when
dissolved put the same, with a little thick gum-water, to the gold,
and bottle it, always shaking it well before using. When dry, burnish
the edge, and cover it with paper till the work is finished.
MARBLING.
Marbling is an art which consists in the production of certain
patterns and effects by means of colours so prepared as to float upon
a preparation of mucilaginous liquid, possessing certain antagonistic
properties to the colours prepared for the purpose, and which colours,
when so prepared, floated and formed into patterns upon the surface of
the liquid, are taken off by laying thereon a piece or sheet of paper
or dipping therein the smoothly-cut edges of a book.
It is a process which it is not very easy to describe; and yet, to any
one beholding it for the first time, nothing appears more simple or
easy of execution. Yet the difficulties are many; and the longer any
one practises it, the more he will become convinced that there are
many more discoveries to be made before the art can be brought to any
thing like perfection or effects produced with that certainty which
the workman could desire. In short, it may be said to be still in its
infancy.
When the art was first discovered, and by whom, or in what city or
country it was first practised, it is hardly possible to determine.
It is supposed that we cannot go farther back for its origin than the
beginning of the seventeenth century, and that Holland has the honour
of being the birthplace of the art,--the old Dutch and some drawn and
antique patterns, with stormont and other spots, being considered the
most original.
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.
Oxford Ochre, Burnt.
BLUES.
Indigo.
Chinese Blue.
Ultramarine.
Prussian Blue.
YELLOWS.
Lemon Chrome.
Dutch Pink.
Oxford Ochre, Raw.
BLACKS.
Vegetable Lamp-Black.
Drop Ivory-Black.
BROWN.
Turkey Umber Burnt.
ORANGE.
Orange Lead.
Orange Chrome.
WHITE.
China Clay.
Pipe-Clay.
Flake White.
Paris White.
DROP LAKE.
This is the most beautiful, but the most expensive, of all the reds,
and is used only for book-edges and the most superior kinds of work.
There are different shades of this colour, viz.:--scarlet, crimson,
and purple. The scarlet is the most expensive, and looks the best on
edges, possessing a brilliancy which no other colour will produce; but
there is a great quantity of a very inferior kind of drop lake about,
which is of no use whatever to a marbler, for, when it comes to be
worked, it is found to possess no body.
In order to ascertain whether the article about to be purchased will
answer, take a piece of the colour, and, breaking it, apply the broken
part to the tongue. If it adhere to the tongue, it is very doubtful
whether it will do; but if it hold up the moisture without any
inclination to adhere, it may be tried with better expectations. This
colour is sold in the form of small cones or drops, from which it
derives its name, and is a preparation of cochineal; therefore the
value of it depends much upon the price of that article.
VERMILION.
This colour is but little used, on account of its great specific
gravity, and seldom without being combined with some other colour.
It is a preparation of mercury, and, though nominally at a much lower
price than lake, yet so little of it goes to a pound, it comes nearly
as dear as that article.
ROSE-PINK.
This is a very useful though common colour. It is composed of chalk or
whiting coloured with Brazil wood; consequently it is what is termed
a fugitive colour, the pink very quickly fading on exposure to the
atmosphere or to heat. When combined with indigo or a little Chinese
blue it makes a good purple.
BURNT OCHRE.
This colour is obtained in its native state from pits dug in the earth
in the neighbourhood of Oxford; hence, it is called Oxford ochre, and
sometimes stone ochre. It is in fact a kind of clay, and when made
red-hot turns to a kind of red colour. It is one of the most useful
colours, and, as the price is low, is extensively used. With the
addition of a little black it makes a good brown; with a little
blue or indigo it makes a good olive; or it is a good colour used by
itself, and is not liable to change.
WOOD LAKE.
This is a preparation of peach-wood, and has only been introduced
of late years to the notice of marblers. It is manufactured at
Birmingham. This colour is an exception to the rule, as it is sold
in the pulp or damp state, and may be mixed and even used without
grinding, being made almost exclusively for marbling. It is the best
red that can be used for general purposes, and for appearance comes
next to the drop lake.
CHINESE BLUE.
This is a very beautiful but not a very durable colour. It is,
however, an almost indispensable one to the marbler, as it will
produce nearly every shade of blue by the addition of certain
proportions of white. This colour requires to be particularly well
ground, as indeed do all the blues. It is also sold at some places in
the pulp or damp state. There are some very good damp blues made.
INDIGO.
This colour is a most valuable article, and cannot be dispensed with
under any consideration. It is too well known to require describing.
Though not a bright colour, it is one of the most durable, and
for mixing and producing greens and purples of a permanent kind is
invaluable. Neither can a good black be made without it. Care should,
however, be taken to procure it of the best quality.
ULTRAMARINE.
This is a very beautiful colour, but must be used very sparingly, as
it will not glaze or take any kind of polish, and is always inclined
to rub off. The kinds now in general use are the French and German,
the genuine article being far too high in price for this kind of work.
PRUSSIAN BLUE.
This colour has been of late almost entirely superseded by the Chinese
blue, which is a much brighter colour, Prussian blue being darker and
heavier looking, and is a very bad colour for glazing.
DUTCH PINK.
This is a common but very useful colour. It is a preparation of
whiting and quercitron bark, and is used in making greens, no other
colour answering the purpose so well. It is also very useful in mixing
with chrome to produce the various shades of yellow required.
CHROME.
This is of various shades, varying from a light lemon colour to a deep
orange approaching to a red. It is a useful colour; but, unless you
get it genuine, it is very difficult to get it to work properly.
RAW OCHRE,
Or Oxford ochre in its native state. This may be used in certain
proportions for making olive tints combined with Dutch pink and blue
or black. It is also of use in small quantities to mix with yellow
when it is inclined to run off, this colour being of a very adhesive
nature.
DROP IVORY-BLACK.
This colour cannot be well used alone. It may, therefore, be called
only an auxiliary to others.
VEGETABLE-BLACK.
This is a superior kind of lamp-black, but prepared from vegetable
instead of animal matter. It is surprisingly light, and cannot be used
alone, and will not produce a black for marbling except in combination
with double its weight of good Indigo.
TURKEY UMBER, BURNT.
This colour produces a very good brown, but it is not required if you
have the burnt Oxford ochre, as, with the aid of that colour and a
little indigo and black, any shade of brown may be produced.
ORANGE LEAD.
This is a very heavy colour, and is but little used, except for the
edges of account books.
WHITE.
For this an article called China clay is used; also, for some
purposes, the common pipe-clay.
GUM.
Of all the varieties of gum, there is but one that is of any use to
the marbler, and that is called gum-tragacanth or gum-dragon. Too much
care cannot be exercised in the choice of this article, as much of the
excellence of the work depends upon it. It should be large, white, and
flaky. Occasionally there will be found some very good in small white
flakes; but let that in dark brown lumps be rejected at once, no
matter at what price it may be offered. If used at all, it would only
do for the most common kind of work; but there is, in reality, no
saving in an inferior article, as one pound of a really good sort will
go as far as two of a bad, and produce a far more satisfactory
result. Good gum ought to dissolve in cold water; it requires at least
forty-eight hours soaking, being well stirred about at intervals;
but some gums take longer to dissolve. Good gum will produce a smooth
surface, but bad gum will often yield a rough one, which is inimical
to the purpose. Again, some will give a smooth surface, and yet
possess no strength; the colours will flow well upon it and form
properly, and, when the paper is taken off, will look, at first, very
beautiful, but upon looking at it five or ten minutes after it
has been hung up, the colours will be found running off, causing
indescribable annoyance and mortification.
DIRECTIONS FOR PREPARING THE GUM.
Procure a large earthen pan, glazed on the inside, capable of
containing from eight to twelve gallons of water. Put therein one
pound of gum-tragacanth, and on it pour about two gallons of soft
water. Stir it every few hours with a clean birch broom kept expressly
for the purpose, breaking the lumps and adding more water as it
thickens or absorbs that previously put in. In about forty-eight hours
you may venture to use it; but seventy-two hours would be better. Some
gum is all the better for a longer period, as, although a considerable
portion of the gum may be dissolved, yet the best properties of it are
not extracted till the whole is dissolved. It must be strained through
a fine hair sieve before using, and if any lumps remain, put them back
into the pan until they are all dissolved.
OF LINSEED.
It is possible to marble some patterns on mucilage of linseed, but it
is a very objectionable vehicle to work upon, and can never be made to
produce a satisfactory result. It is made either by boiling one quart
of linseed in six or eight gallons of water, or by pouring the
boiling water upon the linseed and stirring it until it extracts the
mucilaginous properties of the seed; but it very soon decomposes or
turns to water.
CARRAGEEN, OR IRISH MOSS.
This is an article used by some, and can be dispensed with altogether:
it is not a necessary article. When used, it should be picked (the
white being the best) and well washed; then set it to simmer in a
gentle heat for an hour or two, strain it through a fine hair sieve,
and it will be ready for use; but it will require a portion of the
solution of gum-tragacanth to be able to do much with it.
FLEA-SEED.
This is an article but little known except to those who have occasion
to use it. It is a small, brown, hard seed, in size, shape, and colour
closely resembling the annoying little insect whose name it bears, and
from which it may possibly derive its appellation. It produces a very
strong and powerful mucilage--far stronger than that which can be
obtained from linseed; and what enhances its value is that it will
not so soon lose its strength or turn to water, but will keep several
days. It is a great assistant, mixed with gum, in the making of French
and Spanish marbles, but is a total enemy to nonpareil and drawn
patterns.
To prepare it, put a quarter of a pound of the seed into a pan,
pour upon it a gallon of boiling water, keep it well stirred for ten
minutes, and let it stand for half an hour; then stir it again for ten
minutes more, and in another half-hour add another gallon of boiling
water, stirring it as before, at intervals, for one hour; after which
let it remain, and the seed will settle at the bottom of the pan. When
cold, pour off the top for use, and the seed will bear more boiling
water, though not so much as at first. Sometimes the seed will yield
a third extract; but this must be determined by your judgment, as the
seed, when exhausted, will lose its viscid property, and must then be
thrown away. The seed should never be stirred up after it has cooled,
for it will settle without being again heated or having more boiling
water added to it.
OX-GALL.
The surest way of obtaining this article genuine is by procuring it in
the bladder as it is taken from the animal, if you are acquainted with
any butcher upon whom you can depend. The gall from some animals is
very thick, but will, after keeping some time, get thin, without at
all losing its properties; in fact, gall is all the better for being
kept, and is none the worse for a strong smell.
WATER.
Soft or rain water, when it can be procured, is the best adapted for
all the preparations in marbling.
OF THE PREPARATIONS OR VEHICLES REQUIRED FOR MARBLING UPON.
For Spanish, French, Italian, West End, and British patterns, there
will be required a mixture of gum-tragacanth and the mucilage of
flea-seed, in the proportions of one quart of the latter to two
gallons of the former. Beat them well up together till they are
thoroughly mixed or incorporated with each other, strain it through a
fine hair sieve into the trough, and it will be fit for use.
For Dutch, nonpareil, curls, antiques, and, in short, all patterns
which require to be formed with any kind of instrument on the
preparation in the trough, use nothing but the pure solution of the
gum-tragacanth; in fact, you may marble all the patterns on this
alone, so that if there be any difficulty in procuring the other
articles, and you can procure good gum, you may do any or all of the
patterns upon it, although some of them are improved by the addition
of the mucilage of the flea-seed.
As some gum is stronger than other, it is hardly prudent or possible
to give any exact weight of gum to any certain quantity of water.
Practice and your own judgment must determine this. Besides, if the
gum be not sufficiently soaked or beaten up, it will not yield so much
or so good size as it would were it in its right state. The following
will give some idea to guide in the matter:--If, on skimming the
surface and sprinkling on the colours, they lose their shape and
appear to turn round on the solution, especially in the corners of the
trough, it is a sign that it is too thin; if, on the other hand, on
skimming there is a great resistance when the skimmer is drawn along,
and, upon sprinkling on the colours, they crack, and are a long while
spreading out, it is a sign it is too thick; but a little practice
will soon enable the learner to form a correct judgment in this
matter.
OF GRINDING THE COLOURS.
On this head you must be very particular indeed; for, if the colours
are not finely or properly ground, it cannot be expected that the work
will look well. When a large quantity is required, a colour-mill is
the most advantageous method; but if on a small scale, or for edges,
the ordinary stone and muller will be best adapted for the purpose.
Indeed, all colours required for edges ought to be most particularly
well ground upon a slab, with a muller, the mill not grinding so
finely as by this method.
The colours must all be ground with a preparation of beeswax, in the
average proportion of one ounce of the prepared beeswax to one pound
of colour. Blues and greens require rather more. This will prevent
the colour rubbing off on the hand, and will make it burnish or glaze
easily.
DIRECTIONS FOR PREPARING THE WAX FOR GRINDING.
To attempt to grind beeswax in its native state would be a fruitless
task, as it would stick to the stones and not unite with the other
ingredients. To obviate this, prepare it in the following manner: Take
of the very best beeswax two pounds, put it in an earthen pipkin, and
with it a quarter of a pound of the very best curd-soap cut into small
or thin pieces; place it in a moderate heat, and when both soap and
wax are quite dissolved, (but be sure they are not boiling,) put the
pipkin containing the hot liquid upon a table, take in one hand a pot
of cold water, and, gently stirring the melted wax with the other,
pour in the water, a little at a time, keeping it constantly stirred,
and it will gradually thicken, until at last it can hardly be stirred
at all. Care must be taken not to have it too hot when the water
is poured in, as there is danger of it flying out of the pipkin
and scalding the workman. If properly mixed, when cool, it can be
pulverized between the finger and thumb; and in this state it will mix
or grind with the colour easily, but ought to be rubbed or worked in
with the dry colour before wetting it for grinding.
TROUGHS.
The troughs should be made of wood, perfectly flat and smooth at the
bottom, and of sufficient thickness to keep them from warping. They
should be about two and a half inches deep inside, and about two
inches larger than the sheet of paper you intend marbling, or your
edges will be imperfect. There should be about three inches parted off
on the right-hand side by a sloping partition, which should be about
an eighth of an inch below the sides, that the waste may be skimmed
over it without running it over the top. The whole should be perfectly
level and true; and, if the joints are stopped with white lead, be
sure it is quite dry and hard, or it will entirely spoil the solution,
and will fill the pattern with white.
FRENCH OR SHELL MARBLE.
To commence with the easiest and most common kinds of marbled
papers:--the colours being properly ground, and the trough placed on
a level table or fixed bench of convenient height, with some feet of
spare room on each side, place the pots containing the colours on the
right-hand side, and the paper or books to be marbled on the left.
Let there be a small brush in each of the pots of vein-colours, and
a larger one in the last or body-colour. Have a small iron rod or bar
about twelve or fourteen inches long, placed so that you may be able
to take it up when required with the left hand. Fill the trough to
about one-half or three-quarters of an inch from the top with the
solution of gum-tragacanth and flea-seed, as previously described, and
proceed to mix the colours.
[Illustration]
For convenience of reference, the various patterns described and
processes employed will be numbered.
No. 1.--LARGE BROWN FRENCH OR SHELL, WITH THREE VEINS, VIZ.:
RED, YELLOW, AND BLACK.
Mix together ox-gall and water in the proportion of one-eighth of the
former to seven-eighths of the latter. Mix the vein-colours with this
mixture, putting in a little at a time, and gently stirring it about
with the brush (but be careful not to make it froth by too rapid
stirring) until you arrive at the proper consistence, which must
be ascertained by sprinkling a little colour on the solution in the
trough. If the colour sinks, and does not spread out, add a little
neat-gall; but, should it spread too far and open too much, mix a
little more colour with water only, and put it to that which spreads
too much.
The brown will require more gall, less water, and a few drops of the
very best olive-oil, which will cause it to form itself into rings
or shells as it falls on the solution in the trough. This colour
will require to be thicker than the vein-colours, and, when thrown or
sprinkled, should drive or force the other colours into the form of
veins. By increasing the quantity of gall in the last colour, it will
bring the veins to almost any degree of fineness; but there is a point
beyond which it is not advisable to go. If the brown does not shell
enough, but forms in holes, add a few more drops of oil, and well mix
it; but if there be too much oil it will spoil the effect of the shell
altogether, which cannot be counteracted in any other way than by
mixing some more colour without any oil, and adding it thereto.
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.
No. 5.--BROWN AND PURPLE SHELL.
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.
[Illustration]
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.
[Illustration]
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.
NO. 8.--SMALL GREEN ITALIAN.
A very neat pattern, may be made of one colour only, which must be
mixed with gall and water sufficiently strong to cover the whole
surface of the solution on the trough; after which, beat on the white,
or gall and water, as before. The same size, or preparation of gum
and flea-seed, will do for this as for the previous marbles; it must,
however, be kept clean, to make the work look nice and bright.
No. 9.--WEST END, (BROWN, WITH LIGHT SPOT.)
This pattern consists of two prominent colours besides the veins;
one of these is dark and dotted all over with small white spots;
the other, which is the last or top colour, is light, and is made by
taking a portion of the darker colour and mixing a quantity of white
with it, sufficient to bring it to the desired tint. Mix the colours
for veins in the ordinary way, viz.: with the usual proportions of
gall and water; then mix the brown with a larger proportion of gall,
and sprinkle it on as full as to drive the other colours into veins;
then take the white, or gall and water, as in Italian, and beat
it finely and equally all over, but not so much as for the Italian
pattern. Lastly, take the light or top colour, which will require
to be stronger in gall than any of the others, and must be sprinkled
lightly and evenly over the whole; lay on the paper as quickly as
possible.
This pattern is known by the name of West End, and is in every respect
similar to the Spanish in the working, only it is not shaded.
No. 10.--WEST END, (GREEN, WITH LIGHT SPOT.)
An excellent pattern may be made similar to No. 9 in all the details
of mixing, working, and putting on the colours, the only difference
being in the colours, which may be made of two shades of green or
olive, and the veins red, yellow, and blue.
[Illustration]
No. 11.--CURL.
The pattern called French Curl, after the description of the French
marble (see No. 1) will not require much explanation, the only
difference in the working being, that there must not be any of the
preparation of the flea-seed with the gum; but it must be done on the
solution of the gum alone, without any admixture. It will also require
a frame with as many pegs as you may require curls on the paper; these
pegs must be about three inches long, and about the thickness of a
stout goose-quill, tapering toward a point. Throw on the colours the
same as for No. 1 large French; take the frame of pegs, and, holding
it with both hands, put the pegs down to the bottom of the trough,
give it a slight rotary motion, then lift it out quickly, so that
no drops fall from the pegs into the trough, and lay on the paper
as usual, taking care to lay it down straight and even, or the whole
pattern will be askew.
No. 12.--BROWN CURL.
A pattern of curl may be made of one colour only, mixed with the same
ingredients as the ordinary French; it is the easiest of the two to
make.
NO. 13.--RED CURL.
A curl pattern may be made of the same colours used for nonpareil,
only the colours and gum are both used rather thicker than for the
French curl, and the colours must have no oil in them.
SPANISH.
This marble is distinguished from all others by having a series of
light and dark shades traversing the whole extent of the sheet of
paper in a diagonal direction. And, as it is the design of this work
to simplify as much as possible, the marbler will bear in mind that
all the plain Spanish patterns may be worked and managed without the
aid of any other agents than ox-gall and water, of course presuming
that the colours are ground and prepared as before directed.
No. 14.--OLIVE, OR LIGHT GREEN, SPANISH.
One of the most simple and easy patterns is called Olive Spanish, with
red and blue veins. The veins are mixed with gall and water, as in
the previous kinds of marbling, till they are brought to the proper
consistence; and, as it is not possible to state any given measure
for proportioning the gall and water exactly, some gall being stronger
than other, that must be determined by observing the effect produced
in the colours as they are tried on the solution. But each successive
colour requires more gall than the one which preceded it, and the
principal or body-colour requires to be both thicker in itself and
stronger in gall than any of the others. This rule is almost without
an exception.
[Illustration]
Having, therefore, mixed and prepared the colours,--having the
preparation of gum and flea-seed in the trough,--proceed to throw on,
first the red, then the blue, and lastly, with a large brush full of
colour, the olive; beginning at the left-hand corner of the trough,
farthest from you, and working down and up closely all over, taking
care not to go twice over the same place, or you will produce rings
by the falling of one spot upon another, which is considered
objectionable. It cannot, however, be entirely avoided. Now take
up the paper by the two opposite corners, and, holding it as nearly
upright as possible, yet with a degree of ease and looseness only to
be attained by practice, let the corner in the right hand gently touch
the colour on the trough, while, at the same time, you shake or move
it to and fro by a regular motion, at the same time, with the left
hand, letting the sheet regularly and gradually descend till it lies
flat upon the surface of the solution. Practice will be required
before the stripes or shades will be produced with certainty and
regularity. We will next take a pattern with three veins.
No. 15.--BLUE OR SLATE SPANISH.
This is performed in a similar manner to the one just described.
First, throw on red, next yellow, thirdly Blue, and lastly the slate,
or body-colour, which is composed of indigo, Chinese blue, and a
portion of white. We now advance a step further and take up a pattern
with four veins.
No. 16.--BROWN SPANISH.
This is a well-known pattern. Perhaps as much or more of it has been
made than of any other, and it always will be a standing pattern.
Proceed in the same manner as before, throwing on first, the red; then
yellow; thirdly, blue; fourthly, black; and lastly, the brown, which
should be composed of good burnt ochre, darkened with a little black.
No. 17.--DOUBLE BROWN SPANISH.
This pattern has four colours for veins and two body-colours, the last
or top colour being a dilution of the other with white. The veins
are thrown on in the following order:--first, red; then black; next
yellow, (some work the yellow before the black;) fourthly, green;
then the brown, which must not be quite so powerful or put on quite
so heavy as for brown Spanish, and on this sprinkle the light or top
colour, which requires to be stronger in gall than the others.
No. 18.--FANCY SPANISH.
The pattern so designated has something of the appearance of a Spanish
being worked over an Italian. It requires seven colours and brushes
to execute this pattern, although it may be made of less. Commence,
as usual, with red first; then black; thirdly, yellow; fourthly, blue;
fifthly, green. These being all thrown or sprinkled on, next throw on
the white, by using the iron rod, as for West End or Italian, and beat
or knock it on very firmly all over these colours, but not so much
as you would do for Italian; and lastly, the principal or
body-colour,--say dark olive-green. Shade it by shaking or waving the
paper in the same way as for other Spanish.
No. 19.--FANCY SPANISH.
Another compound or fancy Spanish pattern is made by introducing a
small French pattern instead of veins. In doing this, be careful not
to have so much gall or oil in the colours as though you were going
to make French only, and the top or body-colour will require more
gall than any of the plain patterns in order to make it work over the
French colour.
Beautiful effects may be produced by folding the paper in squares
or bending the sheets in various parts before shading, some of which
cause the shades to assume an undulating appearance, as though it had
been watered like silk.
No. 20.--DRAG OR EXTRA SPANISH.
To do which you must have a trough twice the length of the sheet of
paper; as, in order to produce the elongated form of spots, you will
have to drag or push it from one end of the trough to the other in the
course of laying down the sheet of paper. The colours and preparation
are the same for this as for the other Spanish, only the colours are
used considerably thinner, as they would get so thick upon the paper,
from one sheet being drawn over and taking up a surface of colour
usually allowed for two, that it would peel and crumble off and not
burnish.
[Illustration]
[Illustration]
No. 21.--NONPAREIL OR COMB.