AGATE.

150. Agate is a variegated stone, a conglomerate, and according as it is cut will sometimes show a number of veins usually circling around some center. The ground is white lead, and the various colors may be put in and blended over. This is followed up with touching certain parts with fresh color, which is left unblended to give a sharp edge. The colors vary very much in various specimens of agate, some being rather light and others very dark, so the student has a good range to choose from, from crimson lake, prussian blue and chrome yellow or ochre.

BROCATELLO.

151. The ground for Brocatello is made from ochre and white lead, or it may be put on with white lead and ochre brushed into it, leaving it darker in patches than in others. Then put on a thin glaze over it when dry made of raw and burnt sienna with enough whiting to make it rather transparent. When the color has set sprinkle it over with turpentine by striking a small brush over a stick it will cause it to spread the color and to show the yellow ground through. Then shade the larger blotches with a light yellow ochre to show the angular fragments and give it depth. Then vein with color made of vermillion and Prussian blue, being careful not to put in the dark lines through the blotches.

BLACK AND GOLD MARBLE.

152. As the name indicates this marble’s chief tone is black with blotches of yellow. It is a conglomerate marble. The ground should be put on with black paint and lightened up in parts by working in a little white in spots, as it should not be uniform in tone, but the lightest parts should be as dark as a dark slate. Dab on the yellow spots where they belong and connect a few of them by veins, then blend to produce transparency; then touch up with some of the light color, which should not be blended. Let dry and put on a very few high lights on some of the yellow and with ivory black used as a glaze correct any glaring mistakes by covering them over which will then appear as belonging to the under parts.

DOVE MARBLE.

153. This marble is one of the easiest to imitate on the whole list. It is a veined marble and chiefly a warm gray with white veining. The ground should be made from white lead, lamp black and warmed up with a little vermillion. Put in the white veins and blend; after blending touch up parts of veins you will wish to show as coming to the surface, but do not blend. When dry emphasize such parts as desired with white.

EGYPTIAN GREEN MARBLE.

154. This is a conglomerate marble which presents many varied forms according as it has been cut. Under certain cuttings it presents a mass of crystalline matter of great beauty, and somewhat more difficult of execution than the more ordinary forms of it do. By a little practice, though, the student will find no great difficulty in representing it correctly. It is a marble which presents in any of its forms a beautiful appearance, and one which the operator is pretty sure to be called upon to reproduce, therefore he should spare no pains to study it well and to practice what he has learned in order to be ready for any emergency. The ground is an invisible green made of black with a trifle of yellow added. When dry put on a suitable green glaze, dabbing on here and there the black masses and put in the green network of veining with a feather, touching them up with a camel’s hair pencil with the same color to give it character and transparency. It will be noticed that according as it is cut a mass of crystalline bodies seem to show through the semi-transparent stone, and this will test the skill of the marbler to reproduce naturally.

QUESTIONS ON LESSON XXIX.

150. Give a description of the marbling of agate?

151. How is Brocatello marble imitated?

152. Describe how black and gold marble is imitated?

153. Give a description of how dove marble is done.

154. How is Egyptian green marble imitated?