The colours, with their brushes, are placed in the order in which they are to be used, beginning with the darkest and finishing with the lightest.

A drop of colour is let fall from the black brush upon the body, the surface of which had previously been drawn off with a strip of paper; the surface of this drop must be about the size of a crown piece. If part of the colour sinks to the bottom, the body is too thin or the colour too thick, or the drop was too large and could not spread quickly enough; in the latter case the surplus colour will be seen lying at the bottom and will have no connection whatever with the colour on the surface; but if a cloudy connection can be traced from the surface to the bottom then the body has already become sour and in most cases unfit for use. If the colour does not retain its smooth outlines and becomes jagged, it also shows that the body is too old. If, however, the drop extends as desired and shows none of the faults above mentioned, a drop of blue colour is let fall in the centre of the first, which drives out the first drop in the form of a ring; when it has not this effect, but strongly contracts again, a drop of gall must be added, the colours wiped off to the sloping part.i.tion, and the whole process repeated. If the action of the colour was too strong, a little undiluted colour must be added. If the result is satisfactory, a drop of red is added to the blue. The colour scheme is seen in the accompanying drawing. Lastly, yellow is dropped into red, and black is thereby reduced to a very thin ring.

Ill.u.s.tration: s--black; b--blue; r--red; yellow in centre.

Before each new sprinkling, the old layer of colour must be wiped off.

To do this, cut strips of stout waste paper about two fingers in width and a little longer than the trough is wide. The edge of the strip is placed slantingly at the end of the tank in the surface of the body and the surface colour drawn off, at the same time lightly pressing the ends of the strip against the sides of the trough.

When the colours are satisfactory, the little stick is traced in and out amongst them. If too much colour follows the stick, the body is too thick; only a narrow line of colour must follow the stick.

If the colours are thus correctly prepared, the whole trough is sprinkled in the following manner: Along the middle of the trough the darkest colour is sprinkled in what we might call links, that is, each drop is linked to the one preceding.

Fig. 44--Suggestion for sprinkling colour.

The second colour is sprinkled on in the same way; one circle, however, is on the right and the other on the left of the centre colour. Into each drop of the second colour let a drop of the third and then of the fourth colour fall.

Ill.u.s.tration: Colour trace form.

The colours must then be traced crosswise with the stick in this form and then likewise with the comb. Neither stick nor comb should be dipped more than about 2 mm. below the surface, otherwise the body is set in motion and the colours disarranged.

The combs should not be made too fine, 30 to 35 teeth for every 10 cm.

is the best width and sufficient for most cases. If the comb is drawn back again from the other end it produces drawn-back marbling; this is rarely applied.

The finished comb marbling can be still further varied if figures are traced in it with the stick as shown in Fig. 46.

Fig. 45--Comb marbling.

Fig. 46--Suggestion for curl marbling.

Ill.u.s.tration: Double comb colour form.

If a double comb is made--one that allows two combs to pa.s.s each other, their teeth being 2 cm. apart--bouquet or peac.o.c.k and eye marbling can be produced. The double comb is drawn over the length of the trough, at the same time moving the two combs up and down evenly. This motion causes the colours to a.s.sume the form shown in the accompanying ill.u.s.tration.

Bouquet or peac.o.c.k marbling is produced by drawing the double comb through the finished comb marble design, and if the double comb is used immediately after the cross tracing with the stick, eye marbling is the result.

With a little thought it would be easy to invent other fancy designs, but these are better applied to paper, as trimmed edges are more beautiful and effective when the marbling is of simpler design.

Fig. 47--Bouquet or peac.o.c.k marbling.

Fig. 48--Eye marbling.

Large marble, called also Turkish marble, is produced as follows, using the same arrangement of colours. Only the first colour is laid on ringwise; all other colours are scattered in smaller drops from brushes.

A darker colour is chosen for the last--brown, blue, olive, grey--to which is added a few more drops of gall and as much spirit of soap (_spiritus saponatus_), as sold by the druggists. This last colour is prepared in a larger and shallow basin. The largest brush is taken with the hand and dipped, shaken out a little, and then lightly knocked on the left hand so as to sprinkle the colour. The drops will fall in a dense shower, and, owing to their extra impetus, will drive together the preceding ones, and yet they will form the princ.i.p.al colour in the design. If it is desired to have veins of white in the design, a few drops of gall should be added to a little water in a bowl and used as any other colour; the same applies when using white in comb marbling. In a similar manner the so-called Kremser style of marbling is produced, but fewer colours are then used, generally only black and red, red and blue, brown and blue, green and red, at the end sprinkling a little of the strong princ.i.p.al colour to which, besides the spirit of soap, a drop of pure stone oil--not petroleum--from the chemist has been added. As last colour, blue grey (black with a little blue), brown, or grey is used.

Recently, a sort of paper termed Trichinal marble has been very prominent on the market. Black and light brown or red and light brown or black, red, and light brown, or white, are all sprinkled on with a brush, length (not cross) wise drawn through, and then grey with a few drops of turpentine (but very driving) is sprinkled on with a small brush. The single drops have ragged edges and produce a peculiar effect.

Thin-veined or French marbling is done upon the same ground, though it can also be done on a somewhat thinner body. The colours, however, are diluted by 50% water, and, consequently, more gall is added. As a rule, only two colours are used; blue, red; brown, blue; brown, green; black, red; black, blue. The first colour is laid on in rings with a brush and must be strong enough to spread over two-thirds the width of the trough; the second colour is sprinkled over with a little birch broom in drops that spread out to the size of a half-crown. Lastly, the so-called sprinkling-water is sprinkled over with one dash from the large brush as already explained. Sprinkling-water consists of two parts water and one part spirit of soap. The small veins must be driven quite close together and the eyes made by the sprinkling-water must not be larger than a small pea.

It should be observed that for this kind of marbling only the darker shade of red is to be taken, as the light carmine lake colour sinks and does not give a fine effect. India red is best of all.

The sprinkled colours are first tested with strips of paper; cuttings of clean note-paper are saved for this purpose. The edges of a book can be marbled only when the book is level or straight, therefore they must be marbled either before rounding or the book already rounded must be levelled by knocking it on a stone or metal slab. In all cases the marbling is done--both with papers and books--by dipping from one corner to the other diagonally opposite, but never deeper than just sufficient to take off the layer of colour. To prevent the colour from getting between the leaves, the edges are held between zinc plates, which must be dried each time after using. To make the paper or edges take the colours more readily and to prevent any subsequent running off, the edges are lightly washed down with alum water. This wash is made by boiling 100 g. of alum in 1/2 litre of water and using it solely for this work.

The alum solution is laid on with a sponge, with which the edges are washed over. The moisture must have thoroughly soaked in, therefore it is necessary to do it 10 minutes before marbling.

If, however, the edges have become thoroughly dry they will take the colours badly. This occurs in from 20 to 30 minutes, according to the temperature. Marbling can only be done in a warm room where the temperature is equable and where there is no dust.

The marbling bath must be of the same temperature as the room. The body must be skimmed each time before sprinkling the colours, but the colours must be sprinkled on immediately afterwards.

An excellent treatise on the work of marbling edges has appeared under the t.i.tle: [4]_Fortschritte der Marmorirkunst. Von Joseph Halfer.

William Leo, Stuttgart._

Footnote 4: The Development of the Art of Marbling.

Ill.u.s.tration: Pressing Board Profile

Gilding edges takes up most time when only occasional books are to be done. The fore-edge can be treated either flat or round. In every case the book must be placed in the press within boards. These boards are narrow strips, about 1/2 cm. thick and up to 5 cm. in width; they must be of equal thickness and bevelled only on long side, the edge itself must be rounded.

Many makers send out boards bevelled right from one side to the other.

This kind is very unsuitable and has many disadvantages. The boards must not be made from wood of very open grain, and firs and oaks must not be used. The boards are to be somewhat longer than the edge about to be treated, so that the edge may be as firm and tight as possible and at the same time easy to work upon; two outer boards are added to those regularly used, as shown in Figs. 49 and 50.

The inner boards are quite flush with the book: the latter must on no account stand back. The outer boards are about 3 mm. behind the others; the book is so placed in the press, and here again the book and boards must be exactly level with the press cheeks. The press is then screwed up as tight as possible. If the inner boards have not perfectly straight edges they must be planed down.

Figs. 49 and 50--Arrangement of flat and rounded edges.

The edges are to be sc.r.a.ped down quite smooth with a sc.r.a.per or, if necessary, with a knife; the sc.r.a.per must not be sharpened for this purpose as the carpenter sharpens his tools, that is, not to a cutting edge but as though it were for carving, until a bevel (or turned edge) of about 3 mm. has been ground. The edge thus gets a turned edge, with which the book is sc.r.a.ped. If it should cease to "take," the old edge is rubbed down with a steel and a new one made by a few firm strong rubbings. The edge should be wetted a little to prevent its heating.

Flat edges are sc.r.a.ped with a flat sc.r.a.per, rounded edges with one suitably rounded. In this case the round of the blade must be more decided than that of the edges, as it would otherwise be impossible to get into all parts of the edges. Sc.r.a.ping with pieces of gla.s.s is an antiquated, clumsy method.

When sc.r.a.ping, the press should lie flat on the table edge, the other end being supported by the press-jack. In sc.r.a.ping, the blade is held in both hands, sc.r.a.ping away from the worker, the sc.r.a.per sloping forwards.

The press must be made immovable. Sc.r.a.ping is continued until all places have been gone over and the whole is perfectly smooth and even. When this is accomplished, the edges are thinly coated with paste, which is well rubbed in along the sheets with a bundle of waste paper until the edges look as if burnished. It is advisable to damp the edges before sc.r.a.ping, as the blade then takes hold more uniformly.

Then bolus is mixed with glair as a body colour, laid on sparingly, very evenly, and free from streakiness, using a thick hair brush for the purpose. Bolus is sold to the trade ready prepared under the name "Poliment." Some time before using, it should be sc.r.a.ped into a suitable vessel and mixed with glair. The latter is prepared by adding the white of an egg to 1/4 litre of water and beating to a froth. It is then strained through a piece of linen or, better, through a filtering paper.

After the bolus ground has dried (which takes a few minutes) the gold is laid on. There are various methods of doing this. The surest and quickest way is to lay it on with the gilder's tip.

A row of long badger hairs is glued between two pieces of cardboard; this is drawn a few times over the hair of the head, which makes it take the gold easily. Gilders' tips are to be had at any colour dealer's.

Gold is taken from the gold book, laid upon the gold cushion, and cut into suitable strips with the gold knife. The gold cushion consists of a piece of calf stretched raw side out on a board. Between the leather and the board there is placed a pad of cotton wool, and over the wool a pad of blotting-paper. The gold knife is a thin, pliant, two-edged knife without a sharp edge, in fact it is better to blunt the fore-edge from time to time by rubbing it on a polished steel. If the knife is too sharp it will cut the leather cushion. Taking the gold from the book will not be found a very easy task. The top leaf covering the gold is turned back, the book with the uncovered leaf of gold laid on the cushion, and the book slowly lifted up. The gold-leaf remains flat upon the cushion and may be cut with the knife as required. If a draught has turned the gold-leaf over or made it lie unevenly, it may be righted by lightly tapping with the knife on the cushion near the gold; careful breathing on the centre of the leaf will help in more awkward cases--the rest must be learned by practice. Never attempt to take hold of gold-leaf with the fingers; only the experienced workman knows how to carry gold-leaf with a finger.

For gilding the edges the deep red gold is always used, or else the so-called orange gold, which is somewhat lighter in tone, but never the lemon or green gold.

For flat gilt edges the gold is cut about 3 mm. wider than the book and into as many strips as would make up the length of the edge if joined together.

Before laying on the gold, the bolused edge is brushed down with a hard clothes-brush to remove all hair, dust, &c. Glair is now liberally applied with a thick hair brush, laying it on separately for each strip.

The gold is now lifted from the cushion with the gilder's tip so that it very slightly projects over the end of the brush and is transferred to the wet edges. The tip is brought to within 1 cm. of the surface of the edges and with a quick motion the whole surface of the gold is at once brought into contact with the glaired edges, which will instantly take it up quite greedily. The gold slightly overlaps on to the inner boards.

In this one continues, preparing the edge for each fresh strip and laying on each strip so that it slightly overlaps the other until the whole length is covered with gold. If the gold should be injured in any way, the press must be tilted so as to allow a little glair to run under the gold to the spot and then a larger piece is laid over the faulty place. When it is seen that all parts are completely covered, the press-jack is put aside, the press is taken by the screws between the beams and raised high overhead so that the gilded part is turned downwards. One end is carefully lowered until the glair has run to one side and dripped off. As soon as the greater part of the moisture has been removed, the press is either placed upright with the edge to the wall and head downwards or it is laid across the table where it will not be disturbed, with the head of one screw on the table edge. In this way the moisture runs off quicker, as the whole length of the edge drains together. When dry, the edges are burnished, and it is in seizing the right moment to do this that the clever finisher shows his skill. The first test is made on the boards. If the gold comes off on scratching the portion on the inner board with the finger-nail, the edge is still too damp; if the scratching makes it shine, it will be all right. The experienced worker can trace the progress of drying with more certainty by breathing on the edges; the slowness or rapidity with which the breath disappears points to the dry or moist state of the edges.

When it is believed that the proper degree of dryness has been obtained, the edge is polished with a burnisher. A piece of tracing paper which has been waxed on the upper side--that is, the side next the burnisher--is laid on the fresh edge to protect it from injury. The burnisher is then worked crosswise, stroke by stroke, over the paper (through which the edge can be observed) the length of the edge; if it is noticed that gold and moisture adhere to the paper near to the boards, the work must be laid aside to wait a little longer. If, however, the whole process has gone on satisfactorily, the edge is gone over with a linen rag and a little beeswax. It is not at all better to use a silk rag instead of linen, for it happens too easily that tiny threads stick to the gold unnoticed and are afterwards rubbed into the edge. After going over the edge with the waxed rag, the bare edges may take a greater pressure in burnishing, and if no flaws are now perceptible there need be no hesitation in burnishing with very strong pressure. The burnisher must be held quite level, the long handle fixed against the shoulder and the lower end firmly gripped with both hands just above the metal fastening. The fore-edge of the burnisher is not to be held parallel to the sheets, but must be at a slight angle; it thus slips better over the paper and there is less danger of making rills and furrows, and the polish is obtained more rapidly. Flat edges are always burnished crosswise, but at the end a broad burnisher may be used for going over the edges lengthwise with a few slow, firm strokes, so as to ensure a very level surface.