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Doc. 202.] 589
INLAYING MARBLE.
In order to produce the appearance of ivory, as in a comb
or jettons (whist-counters], a little orpiment is strewn over
the surface. Black edges or shadings are made with India
ink by means of a little brush ; this ink enters in pretty deeply,
as may be known from the circumstance that it is not rubbed
out by the polishing operation. For the production of red
wafers Spanish lake (Lacca d’Espagna) is used, which is a
red colour serving this purpose. Various dry colours may
also be used and pounded into a coarse sand, and afterwards
mixed with the compositions and thus inlaid, when a speckled
or granulated appearance is required. Various species of
marble and agate may also be imitated with all their edges
and veins so that they can scarcely be distinguished from the
real stones ; for this purpose compositions of various colours
are made which are mixed but not kneaded much together ;
with these compositions the cavities that have been made are
filled up and smoothed over with the spatula in such a man
ner that the colours succeed one another in the order in
which they are presented by the sample which is to be imi
tated. Roses are more difficult, and also more costly to make,
as carmine, which is a most penetrating colour, has to be
used in their preparation; experience also must teach how
much or how little of it must be employed: for by a mixture
with the white composition the colour is well graduated from
a more intense to a paler shade. The proper shade, however,
which remains, becomes apparent only when it is thoroughly
dried, wherefore as a general rule less colour must be used
[than seems to be required].
Afterwards the whole, including the table itself, is rubbed
down or polished with fine tin-ashes upon a rag, and the gloss
is restored to the marble by rubbing it with coal. Finally,
the whole table together with its designs is spread over with
olive-oil mixed with half its quantity of spirits of turpentine,
or spirits of turpentine alone, which when absorbed by the
marble heightens all the colours. It is then left to dry for
two or three hours.
While the work is being done the table which is to be
inlaid lies on a form which is of convenient access
sides, and upon leaving the work it is always covered with a
on all
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