,transcriber's ,note3 ,the ,table of    
,contents is located at the back      of
 the book on page #aci4             99  
99       99       99       99           
,,the ,,progress    ,,of ,,the          
,,marbling ,,art      ,,from            
,,technical ,,scientific ,,principles   
,,by ,,josef ,,halfer      ,,with ,a    
,,supplement ,,on ,,the    ,,decoration 
,,of ,,book ,,edges        ,translated  
by ,herman ,dieck1 ,philadelphia        
,,buffalo1 ,n4 ,y43    ,,the ,,american 
,,bookbinder ,,co4    #ahid4            
,copyright1 #ahic1    ,by ,,louis ,h4   
,,kinder4          ,,preface    ,,to    
,,the ,,first ,,edition4      ,no       
product finds so many and ample         
applications as color4 ,nearly every    
trade requires it for the decoration of 
its products so as to adapt them  more  
generally and pleasantly to the present 
demands4    ,the art of marbling is that
 branch of our trade1 in which color is 
brought into use for the decoration of  
bindings1 yet it has not found  the     

desirable general introduction into our 
book-binderies because  practical men   
have not so intently employed their time
 and endeavors1 to  overcome the        
difficulties1 which resist its general  
application4    ,who could solve easier 
and more correctly than the mechanics1  
to whom  these difficulties and         
obstacles offer themselves in practice8 
,he is the  only one to find the remedy1
 scientific men not possessing          
sufficient  technical knowledge4 ,only  
he is ready and able to stand up for    
such  special trades1 to work and to    
fight for them1 who is himself          
interested  and who not only learned to 
understand the art of marbling from     
former  instructions and traditions1 but
 from his own practical experience4     
,to him only1 will it be possible to    
gain by close study true points1 on     
which to further develop the whole      
subject4    ,my original plan was1 not  
only to remove the technical            
difficulties of  the art of marbling1   

but also to ascertain the correct colors
 from the  mass at present manufactured1
 for the purpose of manufacturing       
marbling  colors4    ,but in this ,i did
 not succeed as easily as ,i expected4  
,every color  manufactory possesses     
another system to produce its products1 
and after  thousands of experiments ,i  
was finally forced to resort to         
chemistry for  the purpose of gaining a 
knowledge of the raw products viz3      
earths1  metals1 acids1 bases and their 
conditions and qualities in order to    
study their compositions and            
precipitations1 the coloring composite  
of  lake colors and their bodies1 and to
 subject them to investigation on  their
 effects on marbling size4    ,this was 
a tiresome work which demanded much     
patience and pertinacity4  ,during these
 investigations1 ,i have learned to know
 the influence of  sizing upon colors   
and how it hindered or expedited a      
beautiful marbling  or comb edging4     
,through these experiments ,i           

unexpectedly gained a certain knowledge 
which enabled me to overcome the        
technical difficulties of the marbling  
art4 ,the greater the difficulties the  
more they aroused my zeal to  surmount  
them and the greater my joy when victory
 was won4 ,during my  investigations ,i 
saw1 that not the color itself1 but its 
body1 to which  the color is bound      
either in a natural or chemical way1    
forms the  important part of the colors 
necessary to our purpose4 ,no branch    
puts so  many critical demands upon the 
preparation of colors as the art of     
marbling1 because1 aside from the most  
careful grating which can only be  done 
by using the best of painter's colors1  
there must be a great power  of         
divisibility and excellent covering     
qualities so that the pigments do  not  
turn pale by the propelling power of the
 ox-gall expanding on the  size1 but    
retain in a dry state1 their full       
lustre4 ,it is therefore  impossible    
without a more thorough knowledge of the

 chemistry of colors  to find from the  
legion of colors1 which are thrown upon 
the market1 the  ones best adapted to   
our art4 ,so much more so as1 in most   
recent times1  by simplification in the 
manufacture of most colors their        
quality1 for  marbling1 has most        
essentially deteriorated4    ,colors    
which are used for painting1 lithography
 and printing with the  greatest success
 may be entirely unfit for marbling4    
,the cause is not to  be found in their 
preparation for our purposes1 but in the
 manufacture  itself1 as the qualities1 
which are indispensable are not known4  
,the main attention in the manufacture  
is directed to the finding of  colors   
free from poison and which will not     
fade1 when exposed to light1  if they   
are intended for a wholesale consumption
 in painting and the  graphical art4    
,all colors which we intend to use for  
marbling purposes must have body1       
because bodiless colors become mixed    
with the size and run off from the      

paper in marbling1 they therefore can be
 designated as useless for our  purpose4
 ,the most important composite parts of 
colors for marbling are  certain        
substances1 among which hydrates of     
argillaceous earths1 tin and  lead      
oxides and sulphate of barium are named 
as the best4    ,a great number of      
coloring matters of organic origin1     
which are soluble  in water1 have the   
propensity in mixing with a solution of 
salts of  lead1 tin1 and argillaceous   
earths1 with a metallic oxide to form a 
compound which is soluble with          
difficulty 7and is termed insoluble17   
when the latter is precipitated from the
 solution by an alkali4 ,the            
precipitations which are obtained in    
this way are known as lake dyes4 ,of    
greater importance for the quality of   
the marbling colors are the  physical   
conditions of these precipitates1 they  
are either crystallized  or amorphous1  
the former not possessing any value to  
us4    ,the serviceable1 i4 e4 the      

amorphous precipitates1 by their quality
 of  great divisibility give excellent  
colors4    ,among the great number of   
numeral colors there are many which in  
spite  of their amorphous properties are
 bad marbling colors1 such as the       
compounds of copper1 zinc and arsenic4  
,often it depends upon the manner  of   
manufacturing1 even if the color have a 
good body whether it can be  used by us1
 as1 for instance1 white lead and barium
 both of which can be  produced as good 
or useless colors4    ,the general idea1
 that light colors are the best1 is     
erroneous1 even  heavy oxides of metal  
being excellent colors4 ,not in weight  
but in  divisibility rests the          
excellence1 for instance ,i mention pure
 oxide of  iron1 cadmium1 sulphate of   
mercury and mercury iodide4 ,these are  
all  heavy metallic oxides and good     
colors4    ,exclusive of the colors the 
different ways of sizing are most       
essential  parts of marbling4 ,they     
exercise a great influence on the       

success of  beautiful edges and for that
 reason ,i directed my closest attention
 to  them4 ,the more homogeneous and the
 smaller the viscosity of the mucilage  
of the sizing1 the better for comb1     
peacock and bouquet edging4    ,marbled 
and veined edges demand more viscosity  
of the mucilage1 which1  if the sizing  
does not possess it1 is usually formed  
during the first  stage of              
decomposition1 when the normal time for 
using it for comb edges  has passed4 ,i 
will mention further on the ox-gall and 
the sprinkling  water1 which are        
indispensable on account of their       
binding and expanding  powers for the   
purposes of marbling4    ,it is an easy 
manipulation to prepare ox-gall1 so that
 it does not  decompose1 but on the     
other hand a much greater attention must
 be paid  to the binding and expanding  
powers of the same1 as they may have1 in
  spite of its excellent qualities for  
color1 by insufficient caution in  their
 handling the most deleterious          

influences on the colors as well1 as  on
 the sizing and in most cases are the   
causes of the failure of the  edging4   
,there are several substances1 which    
possess qualities similar to  ox-gall   
and many others which possess only its  
expansibility4    ,to the former belong 
resins which are insoluble but which can
 be  dissolved by the addition of       
ammonia or borax1 to the latter fatty   
acids  of alkali1 which we know by the  
name of soaps and which ,i shall        
describe  in the article on ox-gall4    
,sprinkling-water is mostly used on     
account of its greater expansibility    
and its propensity to form circular     
spots on the marbling ground1  7sizing7 
for veined edges1 or as an addition to  
the ground color of the  marble edge4   
,although it does not possess the       
binding power of ox-gall  for colors in 
such a degree1 it is nevertheless1      
worthy of our  attention4 ,it was the   
aim of my investigations during many    
years to  bring this all into a         

harmonious ensemble1 and produce a fine 
and paying  work4    ,in composing this 
book1 ,i have aimed to arrange it in    
such a way1 that  it will be a guide not
 only to the uninitiated1 but also to   
the  practical mechanic4 ,for this      
reason the book will only give such     
methods  of the marbling as will be     
crowned with sure success and which have
  given me satisfactory results4    ,as 
books1 which are intended for practical 
men1 can only obtain an  intrinsic value
 by combination of facts1 gained by     
practical experience1  with scientific  
principles1 ,i have attempted to attain 
this object and ,i  hope to have created
 a lasting work of our trade-literature4
        ,budapest4         ,,josef      
,,halfer1                ,,bookbinder4  
,may1 #ahhd4          ,,preface    ,,to 
,,the ,,second ,,edition4      ,it is a 
pleasure and a satisfaction to every    
author to write the preface  to the     
second edition of his work1 as the sale 
of the first proves  sufficiently1 that 

it has found recognition and            
commendation4    ,in the second edition1
 ,i have given the results of my        
uninterrupted  studies and the new      
observations ,i have made during the    
last five years4  ,it is my hope not    
only1 that ,i shall make the study      
easier to the  inexperienced1 but also  
to offer to the experienced marbler a   
practical  compendium in cases of       
frequently arising difficulties4    ,the
 publisher of this new edition has added
 to it a number of samples1  which were 
collected under my supervision and which
 certainly will be  highly welcome4     
,i hope and wish that the new edition   
with its practical arrangement1  with   
its description of my newest            
observations and with its tables of     
samples and the other additions and     
improvements1 will find the approval  of
 the trade and will increase the number 
of friends and patrons of the  marbling 
art4        ,budapest1         ,very    
respectfully1                   ,,josef 

,,halfer4    ,october1 #ahij4           
,,historical4          ,,historical4    
,every branch of industrial art         
possesses its champions and originators1
  who have employed their whole         
intellectual and physical powers to     
solve  problems for the purpose of      
enhancing and furthering their material 
welfare4    ,often from small           
beginnings1 within a longer or shorter  
period of time1  great enterprises      
spring into existence1 which greatly    
further our  development in culture1    
science and arts1 and are blessings to  
the whole  civilized world4 ,the        
material welfare arising from them      
renders it  necessary that new champions
 continuously enter the arena and combat
 in  the cause of progressive industry4 
,the industries of color and paper      
making which play most important parts  
in the art of marbling shall be the     
first subjects of my essay4    ,the     
paper industry which is very highly     
developed will have a much  better      

future on account of its possibilities  
in the line of  improvement4 ,to-day1 in
 the iron-age1 we speak of a paper-age1 
and for  good reasons1 because there    
hardly passes a year which does not     
bring  new discoveries1 showing the     
extraordinary adaptability of paper4    
,one  branch of the paper industry which
 to-day is considered as an especial    
part of the industry is the manufacture 
of colored paper1 the origin of  which1 
as far as our literature is able to     
state1 extends as far back as  the first
 part of the last century4    ,from it  
springs the art of marbling1 which in   
latter years was  introduced into our   
trade4    ,the manufacture of colored   
paper makes a second branch of industry 
indispensable and one which stands on as
 high a stage of development as  the    
paper industry2 this is the manufacture 
of colors1 which deserve the  greatest  
attention on our part on account of the 
marbling art4    ,there is hardly a     
second branch of chemistry which is of  

such a great  old age1 historically     
proven1 as the color industry4    ,we   
hardly know of a nation on the whole    
globe which does not make use of  color 
in some way4 ,the use of color for the  
purpose of embellishment and  adornment 
dates back to historical times4 ,nature 
itself1 by the beauty  of the colors of 
her flowers and minerals acted as a     
teacher in the  artistic development of 
the human race4    ,egyptian wall       
paintings show richly developed forms   
and figures adorned  with multi-colored 
fabrics4    ,this is a proof that the   
,egyptians not only understood the art  
of the  manufacture of colors but that  
they also knew the much higher art of   
fastening the color on textile fabrics1 
i4 e41 the art of dyeing4    ,in olden  
times for the coloring of objects1      
mineral colors which occur  in nature   
the result of a decomposition of metals 
and earths and had  only to be put      
through a sieve and washed to adapt them
 to the painters  use1 were exclusively 

used4    ,to alchemy1 which was the     
origin of ,chemistry of to-day1 we owe a
  surprisingly large number of          
artificial mineral colors1 for the      
reason  that with predilection it       
brought metals1 earths and mineral      
compounds  within the sphere of its     
researches which were aimed at the      
production  of gold1 but which all were 
ineffective in this direction4 ,but the 
time  and labor1 which were employed in 
these investigations1 were not thrown   
away4 ,by alchemy an immense number of  
chemical compounds became known1        
without which knowledge the chemistry of
 to-day would not have reached  its     
exalted stage of perfection4            
,exclusive of mineral colors several    
organic colors came into use1 the  most 
being applied in the dyeing             
establishments as they were bodiless    
colors and at that time the art of      
binding them to metallic oxides was     
unknown4    ,by and by it became known  
in what way to bind the coloring matter 

of  plants to bodies and to make them   
serviceable in the art of painting and  
the graphic arts4 ,since that time      
progress in this field has been so      
rapid that we gaze in astonishment upon 
the achievements of the color  chemistry
 of to-day4    ,the progress which      
developed industrial art and caused it  
to flourish1  was enhanced by a new and 
highly important invention1 the industry
 of  tar colors4    ,it is wonderful how
 man through the vigor of his intellect1
 tears from  nature her hidden treasures
 which have lain in obscurity for       
thousands  and thousands of years4      
,who would have thought1 that the       
antediluvian vegetation with its        
splendor of thousands of colors should  
celebrate its resurrection in  aniline  
colors which by their splendid qualities
 of richness and  intensity             
over-shadowed everything before them8   
,it is a pity that we are  only able to 
use these colors in limited numbers in  
our trade4    ,up to this time they are 

used more for dyeing purposes1 because  
they are  without body and possess two  
apparently insurmountable proclivities1 
#ast1 they do not mix so intimately with
 oxides of metal as the organic         
coloring stuffs of plants and they      
cannot for a long period withstand  the 
influence of light4    ,in the meantime 
it is to be hoped with confidence1 that 
science will  soon find the solution for
 these difficulties4 ,already the       
forerunners  of body colors have been   
discovered1 a few which could withstand 
light  have followed1 as geranium lake  
in which the coloring matter is only    
bound to oxide of lead by surface       
adhesion4 ,furthermore scarlet lake1    
which1 although bound to oxide of lead1 
has been put in such a state  that it   
does not run and lastly the artificial  
krapp-7madder7 lake and  indigo1 which  
have been produced from coal-tar and    
nearly equal to the  good color lakes of
 the animal and floral kingdoms4    ,the
 main attention in the production of    

these colors is directed to the  end of 
finding those which are free of poison  
and will not fade1 to make  them        
serviceable to the historic art of      
painting4    ,for the aniline color     
there is therefore a wide field open to 
experiment4    ,whether our interests   
and demands in regard to colors will be 
fulfilled  is a question of time4       
,even the newer productions of the      
animal and vegetable kingdom already    
differ in quality from those            
indispensable to the art of marbling4   
,i recommend to my honored colleagues to
 read my book with attention1 so  that  
the intended gain shall not be missed   
and the beautiful art of  marbling may  
attain a larger circle of friends4      
,,the ,,author4          ,,the ,,size4  
,,the ,,size4      ,the first process in
 marbling is the preparation of ,,the   
,,size on which  the colors are to be   
floated4    ,by the name of size is     
meant a consistent glutinous mass1 which
 is  obtained by boiling or dissolving  

with water certain bodies derived from  
the vegetable kingdom4    ,mucilage is  
found in many plants1 especially in the 
outer skin of seeds1  also in many      
roots1 barks1 stems and leaves1 but its 
solubility and  consistency are very    
much varied4    ,generally the mucilage 
of plants is classed among the gums2 but
 there is  a large difference from them 
in this1 that it will not give a        
perfect1  diaphanous and homogeneous    
solution1 but only swells in it to a    
thick1  massy and viscous fluid1 which  
is similar to starch paste4 ,it is      
composed of small quantities of gum1    
starch1 sugar and consistent            
plant-mucilage4 ,if prepared from       
certain plants1 for example the algae   
of the sea1 it also contains small      
quantities of iodine4    ,starch swells 
in hot water1 while with mucilage the   
same result is  achieved by using cold  
water4    ,smaller quantities of        
mucilage are found in every plant1 but  
larger in  gum tragacanth1 carrageen or 

,iceland moss1 salep1 the leaves of     
mallows1 or of colts foot or tussilage1 
the roots of marsh mallow1  seeds of    
plantago-psyllium1 7flea-bane7 linseed  
and quinces4    ,of this number but few 
are of interest to us1 which ,i shall   
mention  further on4    ,the density and
 proper consistency of the size depends 
on the bodies1  from which the viscous  
or glutinous substance is derived and   
also from  the quantity of water1 in    
which it is dissolved4 ,the consistency 
of the  size is also materially         
influenced by the temperature1 the      
warmer1 the  less substantial and the   
more pliable2 the colder1 the more      
consistent  and stiff it is4    ,a good 
marbling size should be an entirely     
homogeneous mucilage1 i4 e41  a         
solution1 which should be free of any   
vestiges of seeds or strings            
undissolved4 ,a less viscous size is    
more adapted to the production of       
comb-edges1 while a more viscous size to
 the production of marbled or  veined   

edges4 ,the consistency of the mucilage 
of every kind of size will  soon        
experience an essential change1 which   
becomes apparent by the fact1  that the 
size becomes less consistent1 until     
finally an acid reacting  fluid remains1
 which has no more value for marbling   
purposes4    ,this chemical process is  
produced by the transformation of the   
sugar  parts of the dissolved starch    
contained in the size into acid and     
lactic-acid4 ,the more starch and sugar 
that is contained in the size1  the     
sooner the acid will be generated1 while
 pure plant mucilage  containing but    
little sugar and starch will resist much
 longer  disintegration4    ,all        
plant-mucilages1 which are soluble in   
cold water1 i4 e41 swell1 will  keep    
much longer than those dissolved in     
boiling water1 because the  soluble     
parts remain inclosed in one cell which 
is only broken by the  boiling heat or  
by the formation of acid4 ,this is the  
reason why they  only swell up in cold  

solution4    ,a homogeneous mucilage    
will serve for marbling much better1    
than that1  which is produced by        
swelling1 because the latter has an     
injurious  influence on the fine        
distribution of color for veined1 comb  
and other  edges4 ,although the surface 
of such a size seems to be smooth1 the  
eye  will discover on closer            
investigation the undissolved bodies in 
the  small granules of the size4    ,the
 mucilages obtained by swelling are     
always milky-cloudy and never  permit   
the colors distributed upon them to     
expand with the same purity  and        
smoothness as the homogeneous varieties1
 on account of the small  granules      
hindering the drawing of the colors on  
their surface4 ,on the  other hand there
 are varieties of size1 which are very  
viscous on  account of a too homogeneous
 mucilage and therefore from their      
nature  are not adaptable to any kinds  
of edging which must be drawn by the    
stylus4 ,the colors can simply not be   

drawn on the surface1 because this  very
 viscous mucilage is drawn along by the 
stylus instead of being cut  by it4     
,in investigating the different         
varieties of size ,i have noticed a very
  surprising action of the extremely    
viscous mucilage1 which nearly  confused
 me for the moment4 ,i have scalded with
 boiling water  plantago-psyllium       
7flea-bane7 and have beaten it with     
wicker-rods tied  together so as to     
produce in a better manner1 the mucilage
 found on the  outside of the seed4     
,after cooling it off1 ,i filtered it   
through a linen  cloth and poured it    
into the trough but have not waited till
 the very  viscous thread of mucilage   
parted after the trough was filled to a 
certain height1 but have placed the     
vessel on the floor and to my utter     
surprise the thread of the size spread  
out and reached the vessel on the       
floor1 becoming gradually thicker until 
finally the whole size flowed in  a     
white stream with great velocity over   

the rim of the trough 7#b inches  high7 
and returned to the vessel standing on  
the floor until the trough  emptied4    
,this was done in a very short time4    
,the cause of my surprise  was in the   
very consistent mucilage which took     
along ever-increasing  quantities of the
 size and finally entirely emptied the  
trough4    ,prepared colors1 which on a 
less viscous size are normally          
distributed  expand with a greater      
velocity to a greater extent on a more  
viscous  size and therefore become pale4
    ,for such kinds of sizes the earth  
colors are preferable but only for      
marbled edges4    ,the normal strength  
of size can be discerned without        
araometer or other  recommended         
apparatus4 ,my opinion is that #b_/e of 
an ounce of good  carrageen moss to a   
quart of water are sufficient1 as       
carrageen excels  all other glutinous   
bodies by the quantity of mucilage      
contained in it4  ,to test the correct  
strength of the size pour some of it    

into a flat  vessel1 as a plate or dish1
 and throw a drop of color upon it2 if  
the  color does not spread out1 but     
rather sinks down a drop of ox-gall must
  be added4 ,renew the test and so on   
until the color spreads out to about  #b
 inches1 then take the stylus and draw  
the color into lines as in  producing   
comb-edges4 ,if the size be too thick   
the color will be drawn  along by the   
stylus and cannot be cut clean through4 
,on the other hand  if the size be too  
thin it can be seen immediately in its  
quivering and  the running of the color1
 which cannot be drawn into straight    
lines4 ,in  the former case some clean  
water must be added to the size1 in the 
latter case which1 if the size be well  
boiled1 seldom occurs1 thick size  must 
be added by boiling more4 ,the real     
consistency of the size is so  easily   
learned in practice that a mere feeling 
with the fingers will be  sufficient4   
,the preparation of the colors is       
carried on separately on a small part   

of the size1 so that the whole quantity 
is not rendered useless4 ,if the  colors
 are rightly prepared in proportion to  
their expansibilities in  relation to   
each other1 the new size is to be poured
 into the trough and  the marbling may  
begin4    ,the mistake which is commonly
 made in marbling is1 that too little   
attention is paid to the size and color4
 ,frequently the size is soiled  and the
 colors are spoiled by adding too much  
gall before an edge is  produced4 ,for  
this there are generally three causes1  
either the size is  too fresh1 too thick
 or the colors have been prepared on the
 same size  by which the edges are to be
 produced4    ,each size which is boiled
 should only be taken into use after    
perfect  cooling and after several hours
 have elapsed1 since in a warm state it 
would not permit the colors to expand   
even by adding a large quantity of      
gall4 ,only after the expiration of ten 
or twelve hours after boiling  will it  
have the correct quantity of mucilage   

and then only the size  possesses its   
full value4 ,this time having elapsed1  
the size is filtered  through a cloth   
and is then ready for use4    ,a size   
when too thick1 allows the colors to    
expand only with great  difficulty and  
demands a three fold larger quantity of 
gall than when it  possesses its normal 
consistency4 ,it is very difficult to   
remove from a  too consistent size the  
remnants of colors4    ,they always     
unite with the size and in this way the 
size not only  becomes soiled but it is 
impregnated with a large quantity of    
gall4 ,as ,i  said before1 the colors   
should always be prepared on a separate 
size  which can be poured into a flat   
vessel as it is nearly impossible to    
prevent several drops of color sinking  
to the bottom4    ,if this precaution be
 taken and if the colors are prepared   
according to  their relative            
expansibilities as they are used in the 
order prescribed1  the process will not 
meet with any obstruction or difficulty4

 ,as the  size plays such an important  
part in marbling1 great attention must  
be  paid to its preparation if it is    
desired to make a good base for the     
colors4 ,i especially recommend to      
laymen that they direct their  attention
 to the consistency of the size1 as this
 is always the key to  the production of
 good edges4    ,the different          
peculiarities of the varieties of sizes1
 viz2 evaporation1  influence of        
temperature1 starry formation of colors1
 formation of  angular scales in        
comb-edges1 and all other things which  
have influence  on colors1 will be      
treated of in a special article on the  
varieties of  size4          ,,carrageen
 ,,moss4          ,,carrageen ,,moss4   
,the ,carrageen or ,iceland moss1 or    
lichen is one of the algae of the sea4  
,chondrus ,crispus grows on the cliffs  
of the ,atlantic ,ocean and the ,north  
,sea4 ,carrageen smells slightly of     
iodine and when uncleaned tastes        
offensively salty4 ,like all seaweeds it

 contains a great quantity of  mucilage 
and small quantities of salts of iodine 
and bromine4 ,when  washed in sweetened 
water it becomes nearly tasteless and is
 without  smell4 ,on account of the     
great quantity of mucilage contained in 
it1 and  of its action as an alleviative
 to pulmonary complaints it has found   
many applications in medicinal practice 
and is given to the patient  boiled in  
water1 milk or bouillon or as gelatine  
in cases of coughs and  diarrhoea1 being
 a slightly nutritious substance4       
,the carrageen moss or ,iceland moss or 
weed is a lichen and consists of a  tuft
 of flat deeply divided cartilaginous   
fronds of an olive brown1  sometimes    
yellowish or reddish white color2 the   
tuft is sometimes #b to #e  inches long4
    ,the moss is used in many ways2 as  
size for marbling edges1 for  clarifying
 beer1 as linen-weavers starch1 for     
finishing cloth and in the  production  
of iodine4    ,the good pure carrageen  
is horn-like1 yellowish-white1 contains 

a great  quantity of mucilage and gives 
the best size for marbling1 as it       
complies with all the requirements of a 
good size4 ,it is homogeneous1 of  great
 consistency1 not extraordinarily       
viscous and cheaper than all the  other 
materials containing mucilage which are 
used for marbling1 but is  inferior to  
gum tragacanth as far as durability is  
concerned1 and that  it must be         
subjected to boiling1 but this trouble  
is amply repaid by the  beauty of the   
productions4    ,on this size all       
varieties of edges can be produced1 and 
by its  diaphanous watery mucilage it   
gives an excellent ground to work upon4 
,the preparation of carrageen size is   
confined to one ever recurring          
manipulation1 which must be repeated    
every eight days1 if an always good  and
 useful size is desired2 the expenses   
are very trifling1 a few cents  for the 
best kind of carrageen4 ,if bought in   
larger quantities the  expenses for     
carrageen can still be reduced4 ,for the

 preparation of the  size take a new    
pot1 which must always be used for this 
purpose  exclusively1 pour in six quarts
 of water1 which quantity is sufficient 
to twice or three times fill the usual  
marbling trough1 add #b-a_/b ounces  of 
,carrageen moss and boil until the water
 bubbles up several times4 ,a  longer   
boiling is injurious because the        
mucilage becomes flaky and  muddy4 #b_/e
 of an ounce of ,carrageen to one quart 
of water is fully  sufficient to produce
 a consistent size1 provided that only  
the best  ,carrageen is used4    ,soft  
water or rain water was formerly used   
exclusively for preparing the  size1 as 
by using it a greater durability was    
obtained4    ,during my researches1     
regarding the durability of the         
varieties of  sizes1 ,i found means by  
which the influence of hard water on the
 ground  can be suspended1 so that      
spring and pump water can now be used   
without  any danger4    ,every kind of  
hard water contains mineral salts1      

spring water especially  containing lime
 in smaller or larger quantities4 ,this 
can be seen1 when  the soap1 which is   
used in such water1 curdles1 because of 
the  ingredients of soap stearine       
palmitic or fatty acids of sodium or    
potassium1 form a combination with the  
lime1 to carbonate of lime1 and  the    
potash soap is converted into an        
insoluble lime soap4 ,if we add to  hard
 water a quantity of sodium or          
potassium1 the carbonate of lime is     
precipitated as a white or yellowish    
powder1 according to the quantity  of   
iron contained in the water1 and a soft 
water remains4    ,the sun produces on a
 great scale in nature1 what the chemist
 achieves  on a smaller scale by        
evaporation or precipitation and cooling
 of steam1  a water free of all mineral 
salts1 which we call distilled water4   
,rain  water is the same1 but the       
flowing water derived from a river      
already  contains mineral salts in      
greater or smaller quantities1 which are

  brought into it by different springs  
and substances4 ,the water gained by    
precipitations is considered soft4      
,carbonates of sodium or potassium are  
strong bases1 exactly the opposite of   
acids1 and they therefore prohibit  the 
oxidation in plant mucilages4 ,this     
chemical reaction against the  formation
 of acids ,i used for the purpose of    
prohibiting a deterioration  of the size
 by adding sodium1 in which ,i was      
thoroughly successful1 as  it can easily
 be preserved in a cool place for even  
eight or ten days4    ,two obstacles    
offered themselves1 which ,i have       
overcome after a tireless  and thorough 
investigation1 first the strongly       
alkaline property of the  size which was
 generated by the added carbonate of    
sodium and second the  fermentation of  
lactic acid which occurred              
notwithstanding the sodium  and made the
 size useless4    ,the presence of      
alkalies was injurious to such colors1  
chemically bound  to bodies1 among which

 red is most affected4 ,the coloring    
matter was  removed from the bodies and 
became mixed by running with the size1  
causing the size to become soiled4 ,even
 the shade of the color was  changed to 
another which was nearer to purple1 and 
in this way1 the  beauty of the color   
was greatly lessened4 ,the second       
obstacle is the  fermentation of lactic 
acids which always occurs where starch  
flour is  in the solution1 causing in   
consistent sizes a gradual thinning out 
and  even a destruction of the size4    
,it was not my aim to save the size from
 destruction forever1 as this is        
impossible 7laws of nature cannot be    
obliterated at will7 but to keep it     
useful for a certain period of time1 and
 this ,i achieved after many            
experiments by using borax4    ,borax is
 a neutral salt of strongly antiseptic  
properties1 prohibiting  fermentation   
and decomposition where neither base nor
 acid predominate4  ,borax is produced  
by neutralization of boracic acid with  

carbonate of  sodium and can be bought  
at every drug-store4    ,this salt is   
sold in crystals of the size of walnuts2
 for our purpose it  is ground to powder
 and is kept for use in a closed vessel4
 ,the size is  first used without any   
addition of borax as it is then better  
adapted  for producing comb and other   
drawn edges1 and only after some time   
has  elapsed1 in summer #cf1 in winter  
#dh hours1 are #aej grains of borax     
added  to the size1 whereupon the size1 
having been repeatedly stirred to       
dissolve the salt1 will keep entirely   
good and useful for a period of  eight  
days without doing any harm to the      
colors4 ,on a size which  contains      
borax1 the colors expand in a much      
greater degree than upon  unadulterated 
size1 without impairing the consistency 
of the mucilage4  ,an unadulterated size
 is therefore1 better for marbled and   
veined edges1  but if it be desired to  
produce only marbled and veined edges on
 the  size1 it is advisable to add borax

 to the water before boiling the        
carrageen moss4    ,as the influence of 
temperature is important in marbling1   
and the  production of beautiful edges  
is often jeopardized by it1 it should   
therefore have the most careful         
attention4 ,every glutinous mass        
acquires1 according to the difference of
 the temperature of the size and  air1  
in one-half to one-quarter of a minute1 
a film 7top7 which forms  through       
natural evaporation4    ,on a size which
 has such a film1 or top1 the colors do 
not spread out in  such circular forms  
as on a size on which the colors are    
quickly thrown  right after the film    
7top7 has been taken off1 but form      
star-like veined  spots which are torn  
by the film in all directions4    ,even 
in the normal expansion of the drops of 
color1 it often happens1  that the rim  
of the drop is jagged1 the cause being  
that the size  already possessed a thin 
top1 which was not yet sufficient to    
prevent  the expanding of the colors4   

,if the size be left standing for a     
half-hour or an hour before throwing on 
the color without having at  first      
removed the top of the size1 the drop   
will tear a hole into this  film and    
will sink1 even if quite a large        
quantity of gall had been  added4 ,this 
explains the contraction and the sinking
 down of colors on a  still warm size1  
inasmuch as the top is formed by        
evaporation of the  warm mucilage1 so   
quickly and so thick1 that the color    
which had already  begun to spread out  
is pressed together by it and is forced 
to sink4    ,the greater the difference 
of temperature between the size and air1
 the  quicker is the top formed4 ,it is 
therefore a rule1 that the size should  
be allowed to cool off in the same room1
 in which the marbling occurs1  because 
in this way a symmetrical degree of heat
 or cold of the size and  air will be   
gained4 ,on such a size1 the formation  
of the top is much  slower and thinner1 
so that even after one to one and a half

 minutes  after removal of the top of   
the size1 the colors can be thrown on   
without the occurrence of the starry    
formation4    ,i will here mention a    
fact to show the importance of          
temperature4 ,as  this point has given  
me much trouble and has taken much time 
and labor1  it was my aim to find that  
mysterious effect which ,i was unable to
  overcome despite my numerous chemical 
experiments1 until my eyes became       
opened and ,i saw accidentally that this
 obstacle was the difference of         
temperature of size and air4 ,from that 
time on ,i was able to prosecute  my    
labors without the slightest difficulty4
    ,to show the excellence of my       
marbling colors1 ,i used a great number 
of  samples1 perhaps several thousand1  
and in order to produce them ,i worked  
on ,sunday so that ,i could employ my   
whole time to the good purpose4 ,it  was
 winter2 on every ,saturday ,i ordered  
two pots of size to be boiled1  and to  
cool them off ,i placed them in a room1 

in which there was no  heat4 ,on ,sunday
 morning ,i filtered the size through a 
loose linen cloth2  it was as clear as  
crystal1 it possessed the necessary     
consistency1 and  ,i was much pleased   
with the results1 which ,i had expected 
to achieve4    ,i commenced the         
preparation of the colors in a separate 
flat vessel1  using but little size1 so 
as to keep the rest from being soiled1  
but ,i  was greatly astonished1 when the
 colors in spite of the addition of     
gall1 which of course was carefully done
 by drops1 first spread out and  then   
again were contracted1 the starry       
formation of the colors took  place1    
whenever ,i was not quick enough after  
the taking off of the top  to throw on  
the colors4    ,i was dumbfounded and   
could give no explanation for it2 the   
size was  sufficiently cooled off1 it   
had been standing the proper length of  
time1  the mucilage was excellent but in
 spite of all that1 these difficulties  
occurred4    ,thinking that ,i might be 

more successful1 if ,i should do the    
marbling in  the trough where there is  
more surface offered to the color to    
spread  out1 ,i filled the trough with  
size of a sufficient height and then    
commenced the marbling1 but immediately 
after the first trial ,i  instantly     
recognized that even here my experiments
 would have the same  result4 ,although 
,i threw on the color with great        
alacrity1 right after  the top had been 
taken off1 the first drop spread out    
normally #d inches1  the second but     
three1 the third two1 and the fifth and 
sixth only one  inch4 ,in this way ,i   
received instead of an equally wide band
 of thrown  on color1 one which tapered 
to a point4 ,if ,i had not worked       
according  to the system which ,i shall 
describe in the chapter of throwing on  
of  colors1 ,i would have received      
already with the fourth drop1 a         
star-like  formation4    ,whatever ,i   
did to avoid this obstacle was          
worthless1 it was and remained  a       

mystery and ,i was unable on that day to
 produce anything beautiful or  worthy  
of consideration4 ,this happened several
 times until1 by accident1  and through 
careful study ,i found the cause which  
was nothing but the  fact1 that the size
 was much colder than the air in the    
room in which ,i  worked4 ,the          
evaporation on the surface of the size  
was so great1 that  the top was formed  
nearly as quick as on warm size and     
therefore a  favorable result was       
impossible4    ,another abnormity which 
arises from cold temperature acting on  
the size  is the fig-like formation     
occurring during the drawing of the     
colors4  ,the cold in some way seasons  
the surface2 this surface becomes mixed 
in  filtering with the liquid part of   
the size in numberless small particles  
which although the size is well stirred 
up in the trough by the fingers1  are   
not dissolved and this hinders the      
drawing of the colors4    ,they adhere  
to the stylus and follow it and arrange 

themselves between  the color lines in a
 way similar to a green fig1 having a   
broad upper  and a pointed lower end4   
,such an edge traversed by the comb will
 give an  ugly result4 ,a difference of 
temperature of the size and the air can 
also occur when the working room is     
suddenly heated1 or1 when in summer     
time1 the size is kept in a cold cellar4
 ,to effectively obviate this           
difficulty it is necessary to bring the 
temperatures of the air and size        
carefully to the same height which is   
made easy by leaving the size1  after   
boiling1 in the room1 where the marbling
 is executed4    ,in winter1 when the   
room is heated1 the size should be      
poured into the  trough one hour before 
using1 in summer the thing regulates    
itself  because it is then unnecessary  
to keep the size in a cool place1 the   
addition of borax being a sufficient    
protection against spoiling4 ,but in    
spite of it all1 in winter-time when in 
drawing the colors the fig-like         

formation should occur1 it is advisable 
to return the size to the pot  and to   
warm it up slightly so that the seasoned
 particles are dissolved1  until an     
equal temperature is reached1 whereupon 
after the lapse of one  hour the        
marbling can again be proceeded with4   
,should the size be too thick the       
trouble can be remedied by the addition 
of some warm water4    ,the quantity of 
mucilage contained in carrageen moss    
varies greatly1 and  the consistency of 
the size often depends upon the quality 
of the moss4  ,the quantity which ,i    
gave as essential to the preparation of 
the size  means first class moss4       
,should the consistency of the size be  
insufficient after the first trial  then
 from #a_/b to #a ounce of moss should  
be added as it is clear that  the       
carrageen moss is not of prime quality4 
,before ,i speak of another  variety of 
size1 ,i will repeat the main condition 
which should meet with  the attention of
 every layman and which are as follows2 

the size must  not boil too long1 in    
order that it may not become flaky and  
muddy1 it  should remain for cooling in 
the same room in which the marbling is  
carried on1 so that the temperature of  
of it and the air are the same2  the    
colors should be prepared separately on 
a small quantity of size so  that the   
whole size cannot become soiled and1    
lastly1 the top of the  size should be  
taken off before the colors are thrown  
on1 so that no  film can form before the
 colors cover the surface of the size4  
,the quicker the manipulation of        
marbling is executed the prettier are   
the edges produced4 ,as soon as the size
 is covered with color1 the  formation  
of the film is prevented4    ,as the    
size is one of the most important parts 
in the process of  marbling1 ,i         
recommend these main points to the      
special consideration of  the reader4   
,,gum ,,tragacanth4          ,,gum      
,,tragacanth4      ,gum tragacanth1 also
 called gum-dragon1 is the product of   

various  species of astragalus which is 
found in ,greece and ,turkey and is a   
natural exudation of shrubs and from    
exudations resulting from incisions     
made in the stem near the root4 ,this   
shrub is from #bh to #ce inches high    
and two inches in diameter4 ,it is      
collected in ,july and ,august after the
  exudations have ceased4 ,it is a hard1
 tough substance more or less white     
according to its purity in very         
irregular flattened shapes and in       
tortuous vermicular filaments4 ,it      
contains aside from a little gum and    
starch1 a consistent plant-mucilage     
without smell or taste and it is  used  
in technical ways1 in printing of       
textile fabrics and finishing1 in       
producing plastic masses1 as a binding  
medium for the production of            
confections and in the book-bindery for 
marbling size4    ,the leaf tragacanth  
of ,smyrna is the best4 ,it is brought  
to the markets  of the world via        
,constantinople or via ,smyrna in boxes 

of #ajj to #bjj  lbs4    ,it forms flat 
ribbon-like pieces which consist of     
peculiar layers of  horn-like           
consistency1 white and diaphanous2 when 
broken it is dull and  splintered4      
,an inferior quality is the tragacanth  
of ,morea1 which generally comes  from  
,greece via ,trieste4 ,this consists of 
oddly shaped1 peculiarly  twisted       
pieces1 partly of pure white1 partly of 
yellowish and brownish  colors4 ,for a  
long while1 tragacanth was known as a   
good material for  marbling size and1   
for that reason1 it is used to-day in a 
good many of  our book-binderies for    
this purpose4    ,it is much more liked 
than carrageen moss because the         
consistency of its  mucilage and its    
durability are great and the preparation
 of the colors  does not demand such    
great attention4 ,but since my          
experiments and  investigations upon the
 excellent effects of borax on the      
durability of  carrageen size have      
become known1 tragacanth has lost much  

of its  popularity1 because with it the 
edges can never be produced in a similar
  fine way as with carrageen size and   
besides the price is higher4            
,tragacanth is one of these             
short-viscous plant mucilages which     
swell in  cold water but do not give a  
perfectly homogeneous solution4 ,the    
mucilage consists of innumerable small  
granules1 in which the starch is        
enclosed by cells4    ,these small      
granules prohibit1 within the first two 
or three days of a  fresh tragacanth    
size1 the drawing of edges1 as they make
 the colors  thrown on appear rugged1   
and in drawing injure the fine hair     
lines4 ,five  or six days after the     
dissolving of the tragacanth1 the       
mucilage becomes  more homogeneous and  
therefore better adapted for marbling4  
,if the swelled up mucilage is boiled1  
after the first or second day1  then the
 solution will become perfectly         
homogeneous and will be as good  as     
carrageen size except that the colors1  

which normally spread out on  carrageen 
size1 will expand much more on          
tragacanth size as it possesses  more   
consistency and therefore they will     
become paler4 ,the more dense  the size1
 the thicker colors and the less gall is
 necessary to produce a  normal         
expansion4 ,the same difference in the  
power of expansion of the  colors as in 
carrageen and the tragacanth is noticed 
in colors which  normally spread out on 
tragacanth but which1 very largely1     
expand on the  size of plantago-psyllium
 7flea-bane7 because the latter has the 
most  consistency and homogeneity of    
them all4 ,the different effects of the 
varieties of size on the colors are due 
to the consistency and to the  different
 conditions of gravity4 ,the objections 
of the consumers of my  marbling colors 
who use tragacanth1 are1 that they      
consider the edges  too pale4 ,the cause
 of this is that my products are only   
prepared for  carrageen size1 inasmuch  
as my investigations have shown that it 

is the  best1 the cheapest and the most 
adapted for all varieties of edges4     
,the homogeneousness of the tragacanth  
mucilage in cold solution comes         
naturally after the size is five or six 
days old1 because within this  time     
fermentation of lactic acid occurs1     
which opens the cells of the  small     
granules of starch while at the same    
time boiling heat has an  immediate     
result in the same direction4    ,as    
soon as these cells are opened the      
formation of acids of the sugary  parts 
and the fermentation of lactic acid of  
the starch contained in the  size take  
place as fast as in any other variety of
 size1 hence the size  of tragacanth has
 no superiority over any other1 besides 
the best1 or  picked-leaf tragacanth of 
,smyrna costs about four times the price
 of the  best ,carrageen4    ,for the   
preparation of the size1 take #c ounces 
of tragacanth1 pour two  quarts of water
 over it1 leave it stand for #bd hours1 
then stir well and  leave it standing   

for #ab hours more1 repeat this until   
the homogeneous  thick mucilage has been
 produced1 then add #d quarts of water1 
again stir  it up well and filter it and
 the size is ready for the marbling     
process4    ,for tragacanth size1 colors
 of great consistency1 mostly fine earth
  colors are the best4 ,they must be    
ground exceedingly well and very  little
 ox-gall is to be added4 ,but as these  
earth colors lack in the  power to      
spread out and in divisibility1 a       
characteristic of colors  prepared for  
carrageen size1 and as they never will  
have such fineness  and smoothness1     
always appearing rugged1 it is          
impossible for me to  recommend gum     
tragacanth for the preparation of size4 
,i must mention further an effect1 which
 earth colors exert on tragacanth  size1
 viz41 that they can be used on paper   
not prepared with alum1  without        
running1 while this is not the case with
 colors1 which were  prepared for the   
,carrageen size4 ,in another chapter    

upon ox-gall ,i shall  explain why the  
colors used with ,carrageen size must be
 transferred on  alum paper4            
,salep1 ,plantago-,psyllium4            
,,salep1 ,,plantago-,,psyllium          
7,flea-bane7 ,,and ,,the ,,other        
,,gelatinous ,,bodies4      ,radix salep
 are called the dried tubers of several 
species of orchids1  they are round1    
quite flat1 yellowish white1 horn-like1 
semi-diaphanous1  very hard and without 
taste or smell4 ,formerly salep was     
imported mostly  from ,persia1 but now  
the tubers of orchids grown at home are 
collected  and do not in any way differ 
from those coming from ,asia4 ,they     
contain a  good quantity of gum and on  
that account are used for finishing     
silks  and for medicinal purposes4 ,it  
is sold ground1 or as powder and can be 
bought at every drug-store4 ,as marbling
 size1 salep possesses very  excellent  
properties1 similar to carrageen moss1  
but its high price  prohibits its       
general application4 ,in preparing size1

 use1 to #f quarts  of water #b-a_/b    
ounces of powdered salep which must be  
well boiled for a  long period so that  
it may become entirely dissolved4 ,after
 standing #bd  hours1 it can be used in 
the same way1 as carrageen size4        
,plantago-,psyllium 7,flea-bane1        
,flohsamen1 ,flohkrautsamen7 is the seed
 of  different species of ,way ,bread   
belonging to the family of the          
plantaginea viz41 plantago-psyllium1    
,pl-,arenaria1 ,pl-,cynops1 the second  
of which is found in ,eastern ,germany1 
,switzerland1 ,hungary1 etc4 on  sandy  
fields1 the other two on the sea-shores 
of southern ,europe4    ,the seed is    
small with one side flat and the other  
concave and has a  furrow upon which is 
located the eye or navel4 ,it is        
lustrous and of a  reddish brown color1 
the best varieties coming from southern 
,france4 ,in  consequence of the great  
quantity of plant-mucilage or gum1 that 
it  contains1 by treating with hot water
 a consistent mucilage or size is       

obtained and used in the manufacture of 
marbled paper and for finishing  textile
 fabrics4    ,to prepare the size1 place
 #d ounces of flea-bane in a wide wooden
 tub1  pour #f quarts of boiling water  
over it and beat well with a switch of  
wicker-rods until the gum is entirely   
separated from the seeds1 allow it  to  
cool and after #aj or #ab hours filter  
through a linen cloth1 when it  is ready
 for use4 ,the mucilage of flea-bane is 
quite homogeneous and of  great         
consistency1 is very viscous1 forming   
strings very readily and is  therefore  
not used for drawn edges since the      
colors will be drawn along  by the      
stylus without being cut4 ,it is mostly 
used for producing thickly  veined1     
ordinary marbled edges1 but flea-bane   
size is also much more  expensive than  
that of carrageen moss and on the other 
hand its quality  is so much inferior to
 that of the other that ,i cannot       
recommend it for  use as size4    ,i    
will briefly mention the other vegetable

 matters containing an  especially large
 quantity of gum or mucilage1 but which 
have not come  into use for preparing   
marbling size on account of their cost  
and of the  less consistency of their   
mucilages4    ,the richest in this      
regard are the seeds of quinces and     
linseed4 ,their  mucilage is as viscous 
as that of flea-bane4 ,much less gum is 
contained  in the leaves of mallows of  
colts-foot or of marsh-mallows4    ,in  
closing this chapter upon the mucilages 
of plants and their  applications as    
sizing for marbling ,i again recommend  
carrageen moss as  the best size1       
because it has given me during my       
investigations and in  practice1        
surprising results of its usefulness for
 all kinds of marbled  edges4           
,,ox-,,gall4          ,,ox-,,gall4      
,,the ,,chemical ,,constituents ,,of    
,,ox-,,gall4    ,in the bile of every   
animal are two peculiar acids both      
containing  nitrogen4 ,one of them free 
of sulphur1 the other containing it1    

both by  boiling with acids and alkalis 
yield the same acid free of nitrogen1   
which is called cholic acid4    ,if     
these two acids be separated from each  
other in a chemical way we  obtain      
glycocholic acid1 an acid free of       
sulphur and the other  taurocholic acid 
containing sulphur4 ,the alkali salts   
contained in bile  are quite soluble in 
water or alcohol but insoluble in ether4
 ,to produce  it in a pure state mix the
 bile with as much animal coal1         
7spodium7 so  that finally1 on          
evaporation in the water-bath a dry     
powder results1  from which is drawn1 by
 the use of absolute alcohol1 the now   
colorless  cholic acid esters1          
cholesterine1 choline1 lactic acid1 etc4
 ,when ether  containing a little water 
is added1 the cholic acid esters are    
precipitated as colorless plaster-like  
masses and crystallize1 when left  in   
the fluid for some time4    ,the        
so-called crystallized bile is the final
 material for the  preparation of acids4

 ,the acids of ox-gall have been        
investigated in the  most thorough      
manner4    ,glycocholic acid is obtained
 as a colorless precipitate from a      
watery  solution of crystallized        
ox-gall1 by adding dilute sulphuric acid
 until  the fluid becomes flocculent1   
which after a while1 especially1 if the 
water contains a little ether1 is       
changed into a voluminous 'magma' of    
fine white needles4    ,if collected    
upon a filter1 these needles unite and  
form a lustrous  felt4    ,glycocholic  
acid is sparingly soluble in water but  
soluble in alcohol4  ,it forms the      
principal constituent of bile1 it reacts
 feebly with acid  and tastes           
bitter-sweet4 ,taurocholic acid is found
 only in small  quantities in ox-gall   
and has no important effect on the      
colors4      ,,the ,,effect ,,of        
,,ox-,,gall ,,upon ,,colors4    ,by     
chemical analysis we have seen that     
glycocholic acid is the principal       
constituent of ox-gall and in           

combination with taurocholic acid1      
glycin1  choline and lactic acid is     
soluble in water4 ,on the other hand1   
when  pure1 it is soluble with          
difficulty and therefore is only of use 
to us  when in combination with other   
acids1 as it must combine intimately    
with  water-colors4    ,the atomic      
weight of gall and the insolubility of  
pure glycocholic acid  in water are the 
most valuable properties of it for the  
marbling colors4    ,the first gives to 
the colors the expanding power1 the     
latter the  adhesion to paper4    ,all  
the lower fatty acids1 among which      
ox-gall may be numbered1 possess        
properties similar to fatty bodies1     
namely a less atomic weight than  water4
 ,they differ from fatty bodies in this1
 that they mix with water4    ,the      
expanding power and lightness of ox-gall
 are1 consequently1  peculiarities of   
equal value4 ,marbling size forms the   
base for the  colors1 which by the      
consistency of the glutinous mass and by

 the gall  added to them are prevented  
from sinking to the bottom4 ,they float 
like  drops of oil upon the water and   
only differ from them by the fact that  
the colors will spread out on the size1 
while the drops of oil on the  water are
 contracted to circular spots of small  
size4 ,if a drop of oil  were thrown    
upon the size it would spread out very  
quickly4    ,this purely physical       
occurrence is caused by the different   
weights of  the bodies and the          
consistency of the size4 ,the fatty     
bodies1 which are  much lighter than    
water1 float upon it but the gravity of 
the drop  itself prohibits its spreading
 out1 as it sinks somewhat and is held  
together by it4 ,it is different with   
the size2 by the consistency of the     
glutinous mass the gravity of the drop  
is antagonized and as a result it       
flattens and spreads out4    ,as ,i have
 already mentioned the insolubility of  
glycocholic acid binds  the color to the
 paper4 ,to explain this ,i will mention

 a few examples2  the saturated alum    
solution will cause glycocholic acid to 
curdle4 ,if1  therefore1 we add to      
ox-gall which is basic the saturated    
solution of  alum1 a soft plaster-like  
mass is precipitated which consists of  
glycocholate of aluminium1 insoluble in 
water4 ,this chemical reaction  explains
 the durability of the colors4 ,if we   
desire to marble books or  papers we    
impregnate them with alum water1 allow  
them to dry partly and  take the edge   
from the size4    ,in the same moment   
that the paper soaked with alum comes in
 contact with  the colors1 the latter   
become bound by the formation of        
glycocholates of  aluminium and do not  
run4 ,they have the same property of    
fixing colors  that resinous soaps used 
in the paper manufacture for gluing     
machine  paper have4 ,if this resinous  
soap were not too strongly basic1 which 
is  injurious to many colors1 it might  
be applied as a surrogate for  ox-gall4 
,as the resinous soap on account of its 

binding quality and insolubility  could 
also be used in marbling with such      
colors1 upon which it exercises  no     
injurious effect1 ,i will here give its 
preparation and former use in  the      
manufacture of paper4 ,if #b-e ounces of
 rosin be boiled with #a-a_/c  ounces of
 sodium lye and if you add by           
teaspoonful from time to time so  much  
lye until a sample of it is dissolved by
 hot water to a clear  fluid1 the mass  
on cooling congeals and forms a quite   
solid soap4 ,if we  mix a solution of   
resinous soap with one of alum then we  
obtain an  insoluble compound of        
resinous acids and aluminium4 ,in this  
way  resinous soap is used in gluing    
paper by adding to the paper pulp1 first
  resinous soap and then a solution of  
alum4 ,during this process a thin  layer
 of insoluble soap of aluminium is      
formed around every particle of  the    
paper and thus the running of the ink is
 prohibited4 ,the same  process occurs  
with ox-gall contained in the colors1   

when the edge is  lifted off on paper or
 book-edges impregnated with alum1 by   
which the  running of the colors is     
prohibited4      ,,the ,,preparation    
,,of ,,ox-,,gall ,,and ,,its ,,uses4    
,the preparation of ox-gall to be used  
in marbling is simple4 ,take a  quart of
 fresh bile 7ox-gall or fish-gall71     
place in a bottle which  contains when  
filled from #a-a_/b to #b quarts1 add   
#a_/b pint of absolute  alcohol1 shake  
well and leave stand for from #ad days  
to #c weeks4 ,within  this time all     
particles of gum and all fatty          
substances which are  present in some   
galls in comparatively large quantities1
 will fall to  the bottom and the gall  
will be thin-fluid1 pure and diaphanous1
  brownish1 yellow or greenish according
 to the nourishment of the animal  from 
which it was taken4    ,cow-gall        
contains more gum and fatty substances1 
than ox-gall2  fish-gall1 on the other  
hand1 is thinner than ox-gall and would 
be the  most useful of them all1 if it  

could be obtained in sufficient         
quantities4 ,if the gall is thin and    
pure it is filtered through paper  which
 is easily and quickly done as it runs  
like water4 ,if by filtering  the dregs 
of the gall the filter should become    
clogged1 a new one must  be used4       
,the addition of alcohol causes the     
precipitation of glutinous and fatty    
substances and preserves the gall from  
decomposition4 ,if prepared in  such a  
way it can be preserved for years       
without spoiling4    ,all colors which  
we intend to use for marbling must be   
bound to bodies  absolutely insoluble in
 water2 it is therefore a mistake to    
say1 that  the colors dissolve in water4
 ,you may grind the color on a marble   
slab  or in a machine as long as you    
please1 but you will only obtain a great
  degree of fineness of the bodies but  
never a dissolution of the same4        
,each body possesses its limit of       
divisibility2 in amorphous bodies the   
high divisibility is but natural1 but in

 crystalline bodies this  division must 
be produced by grinding or washing4     
,the gall does not combine with these   
bodies1 nor does it penetrate them1  but
 only clings to them loosely4 ,it can be
 readily removed in case the  colors    
should be rendered useless by the       
addition of too much gall4 ,the  color  
is allowed to precipitate in the bottle 
and the water standing  above is poured 
off1 fresh water is added and this      
manipulation is  repeated several times4
    ,the gall which surrounds every     
particle of color forms1 as it were1 the
  support of it and adapts it to float  
upon the size4    ,bodiless colors1     
which give a complete solution with     
water will run  into each other on being
 thrown on the size and will flow from  
the paper  when it is lifted off4 ,the  
insolubility of the color bodies        
therefore  prevents them from running   
although they are disarranged on the    
size in  drawing and although one color 
may be compressed or expanded by a      

second1 yet they all remain separate    
without mixing1 except1 perhaps1  that  
the shade of the first color becomes    
more intense1 because its  color        
particles are pushed together by the    
more violent expansion of the  second   
color4    ,from this it will be seen    
that the colors1 to be useful for our   
purposes1 must be thoroughly insoluble4 
,the gall is added during the  process  
of grinding the color1 so that the      
particles of colors are fully           
surrounded by the gall4 ,the gall has an
 excellent effect on the colors  but it 
also can act very injuriously if the    
necessary precautions are  not taken4   
,carelessness is mostly the reason that 
the edges do not  possess the demanded  
lustre of color and why they appear     
pale1 as the  marbler often uses the    
gall too soon when he notices the       
smallest  obstacle1 7due in most cases  
to the size47 ,it is therefore not      
astonishing that brilliant comb or      
peacock-edges are so rarely seen4    ,it

 is an obstacle to marbling1 that the   
gall mixes so easily with the  size4 ,it
 often happens that the gall spoils the 
size before an edge was  ever produced  
on it4 ,this happens especially when the
 size on which the  colors are prepared 
according to the old method1 is too     
thick4 ,the size  is frequently soiled  
and spoiled when the colors are         
prepared1 because  the colors can not be
 perfectly drawn off on thick size4     
,there will  always remain some         
particles which will not only soil the  
size but  impregnate it with gall1 and  
which will cause the entire uselessness 
of  size and color4    ,a very          
consistent size will make the           
preparation of colors extremely         
difficult1 as they need a double        
quantity of gall for the purpose of     
spreading out4 ,if there is but one     
color used1 the preparation on such a   
size would be possible without spoiling 
it1 but with four colors this is        
entirely impossible because the repeated

 drawing off of the colors1  which      
always leaves particles behind1 will1 by
 and by1 impregnate the  size so that   
when the fourth color is prepared the   
first will not spread  out any further4 
,the more the impregnation of the gall  
and size increases1 the power of        
expansion of the colors decreases and   
this continues until both  materials are
 useless4    ,it is therefore advisable1
 as ,i have already stated1 in the      
chapter upon  the varieties of sizes    
that the colors should be prepared      
separately on  a small part of size to  
determine the correct consistency of the
 latter  and to prohibit the whole size 
being soiled4    ,the gall should be    
kept in a small bottle containing about 
#a_/aj quart  with a perforated stopper 
from which a small tube protrudes and   
from  which the gall can be added to the
 colors in drops4    ,although the      
preparation of the color in this way    
takes more time1 this  trouble is amply 
repaid by the result4    ,fatty bodies  

are injurious to the size1 therefore    
they must be carefully  avoided because 
they have the same effect as the gall1  
they form1  although not insoluble in   
water1 a combination with the size and  
prohibit the colors from spreading out4 
,fatty bodies can be transferred  by    
glutinous fluids into a state of the    
most minute division and they  then form
 emulsions4    ,natural emulsions are   
milk1 the yolk of egg1 and the milky    
saps of  plants4 ,for this reason1 in   
many establishments raw milk is used as 
a  propelling medium for hair-veined    
edges4    ,there are also fatty bodies  
which1 in an artificial way1 form an    
emulsion even with water2 for instance1 
almond1 poppy and hemp1 if they  are    
ground to a pulp with a little water    
yield a milky mixture4 ,all  these      
emulsions artificial as well as natural1
 can be employed as  expanding mediums  
and give better results for marbling    
than petroleum or  naptha4              
,substances ,acting ,similarly to ,gall4

          ,,substances ,,acting         
,,similarly ,,to ,,gall4      ,there are
 rosins which are soluble in ammonia or 
borax4 ,these solutions  possess        
properties similar to gall and either   
can be used as an  expanding medium or  
as an addition to colors4 ,different    
experiments with  these solutions gave  
very good results4    ,to produce them  
pour a quart of water into a vessel1    
warm1 add #b_/e of an  ounce of shellac 
or rosin and a #a_/ajj part of a quart  
of ammonia or #b_/e  of an ounce of     
borax so that the rosin becomes         
dissolved1 and then bring  the mixture  
to a boiling temperature4    ,ammonia   
dissolves the rosins much more quickly  
and thoroughly than  borax1 but the     
solution in ammonia has the property of 
gelatinizing the  colors after they have
 remained standing a short time4 ,they  
therefore  can only be used in a greatly
 diluted condition4 ,the borax solution1
 on  the other hand1 has no such effect2
 not even the concentrated solution4  ,i

 mention these two solutions especially1
 to instigate further  investigations4  
,,sprinkling ,,water4                   
,,sprinkling ,,water4      ,sprinkling  
water is one of the newer discoveries in
 the art of marbling  and deserves full 
consideration on account of its good    
properties4 ,its  advantages consist in 
this1 that it produces circular forms   
upon the  size and has a greater        
expanding power than gall4              
,sprinkling water is used for           
hair-veined edges and as an addition to 
the  ground color in marbling4    ,to   
prepare it take #a-a_/b ounces of       
,venetian soap1 finely chipped1 place   
them in a pot with a quart of alcohol1  
warm up some water in a second  and     
large vessel in which the pot containing
 the alcohol and soap is  put1 bring the
 whole to boiling1 when the soap will be
 entirely  dissolved in the alcohol4    
,keep a quintuple quantity of water in  
readiness into which the solution of    
soap is poured and stir well1 the       

sprinkling water is then ready for use4 
,the solution of soap in alcohol  is    
carried out in a water-bath to avoid the
 ignition of the volatile  vapors which 
are generated by this process4 ,the     
alcohol prevents the  foaming of the    
soap1 the soft water the curdling4      
,the solution when ready is to be kept  
in a closed bottle4    ,generally to the
 colors which are used for hair-veined  
edges and marble  more gall is added    
than to those used for drawn edges4 ,it 
is1 therefore1  easily understood that  
with these1 a more intensively acting   
expanding  medium must be used to spread
 out the strong colors into veins4      
,the sprinkling water is here of great  
service1 because1 although ox-gall  in  
its pure state possesses a sufficient   
expanding power it is here more         
desirable to produce beauty of forms4   
,in this respect the gall is much       
inferior to sprinkling water1 the former
 producing all kinds of forms1  the     
latter only beautifully round and oval  

ones4    ,for marbling1 the ground color
 is prepared with gall so far1 until it 
slightly pushes the other colors aside  
and then1 by and by1 so much  sprinkling
 water is added until the desired       
expanding power is reached4    ,every   
ground color which is prepared with     
sprinkling water spoils on  standing two
 or three days becoming slimy and       
viscous1 and1 for  economy's sake1 not  
more color should be prepared with      
sprinkling water  than is required for  
one marbling process4    ,for           
hair-veined edges1 the sprinkling water 
is used in the same way as  gall4 ,use a
 large painter's brush or whisk and move
 the colors by  beating into veins1 with
 this brush or whisk through a slot1 or 
throw  the sprinkling-water upon the    
color by means of the sprinkling brush  
and  sieve4 ,in both cases the same     
result will be achieved4          ,,alum
 ,,water4          ,,alum ,,water4      
,in the chapter upon gall ,i have       
mentioned in a general way the action of

  alum water upon the edges1 it remains 
only therefore to explain the           
preparation and application of the same4
    ,to achieve beautiful results from  
the colors it is indispensable to wet   
the book edges or the paper1 to be      
marbled1 with concentrated alum  water1 
so that no spot is left free from       
moisture1 because at that spot  the     
color would not take4    ,concentrated  
alum water is prepared in the following 
way2 put #b quarts  of water and #ac    
ounces of alum into a pot and heat until
 the alum is  entirely dissolved4 ,this 
concentrated solution is permitted to   
cool and  is bottled tightly4    ,a     
solution of alum in cold water is much  
too weak for the above purpose  as alum 
is but sparingly soluble in cold water4 
,the book edge or paper1 which is to be 
marbled1 is wet with a sponge  dipped   
into this cold concentrated alum        
solution and must be allowed to  dry for
 from #e to #h minutes1 after which the 
produced edge may be lifted  from the   

size4 ,generally this point finds but   
too little consideration  in our        
book-binding establishments4    ,edges  
which have not been treated with this   
alum water show as a  consequence poor  
and blotted results1 although such      
little trouble is  necessary to wet the 
edges with alum water4    ,with         
hair-veined edges1 where colors are     
thrown on the size only in very  small  
quantities1 this wetting may be omitted2
 but with comb1 peacock  and bouquet    
edges1 for which four to six colors are 
used1 it is  unavoidably necessary to   
prepare the edges with alum water       
because the  glycocholate aluminium     
formed by the color while in connection 
with the  alum water is essential to fix
 the color in such quantities4          
,therefore1 if it is desired to produce 
clean and lustrous edges in which  the  
white lines appear without a trace of   
color1 then this advice is to  be       
followed1 the small trouble being amply 
repaid by the beauty of the  edges4     

,ordinary earth and several of the      
lake-colors take without wetting of     
edges with alum water1 but these colors 
leave much to be desired in  their      
divisibility and fineness and always    
appear rugged4    ,a much finer fixing  
medium is the acetate of aluminium which
 can be  easily produced4    ,dissolve  
#a pound of alum in #c quarts of warm   
water1 prepare another  solution with   
the same quantity of soda1 mix these    
two1 whereupon the  hydrate of aluminium
 is precipitated4 ,allow the latter to  
settle1 pour  the water above carefully 
off1 and filter2 the white body which   
remains  consists of hydrate of         
aluminium which is readily dissolved by 
a little  acetic acid1 into a clear     
fluid and can be diluted with the same  
volume  of water4 ,then heat the whole  
liquid1 when the excess of acetic acid  
is  evaporated1 we have the desired     
acetate of aluminium which can be used  
in the same way as alum water4    ,edges
 and paper which are to be marbled      

should only be moistened with  alum     
water or aluminium acetate shortly      
before the marbling and should  stand   
not longer than a half-hour after the   
sizing of the edges1 because  later on1 
an insoluble layer is formed which only 
takes color with great  difficulty4 ,it 
is therefore best to prepare the colors 
before commencing  the sizing of the    
edges4 ,if there are a large number of  
books1 it is  better to divide them into
 two or three lots4          ,the       
,preparation of the ,colors for         
,marbling4          ,,the ,,preparation 
,,of ,,the ,,colors ,,for ,,marbling4   
,the want of knowledge of colors gave me
 the greatest trouble when ,i  began    
their manufacture as ,i had no          
information as to why this or that      
color was unfit for marbling4    ,the   
numberless experiments ,i made to this  
end remained without results4  ,it was  
an exceedingly great trial to my        
patience1 but by the pertinacity  with  
which ,i clung to my investigations1 ,i1

 at last1 succeeded in making  the      
important discovery1 that the real value
 of color for marbling  purposes is its 
body and that the color itself1 which is
 bound to the  body either naturally or 
chemically1 is of less importance4 ,by  
this  discovery every difficulty that ,i
 had so long experienced was cleared    
away and it was made manifest1 why it   
had been impossible for the  marbling   
art to become sufficiently popular4     
,from this time on ,i had a foundation1 
upon which to continue my               
investigations with greater surety4     
,finally ,i succeeded in finding that   
the colors named later on are good and  
useful marbling colors4    ,when we look
 over the different special branches of 
our trade1 we find  everywhere great    
progress1 which is even noticeable in   
the smallest  workshop4 ,already1 these 
wonderful achievements have become      
common  property1 only the art of       
marbling stood still on account of      
insufficient instruction and it has not 

made any progress in the last  decade4  
,this was due to a large number of men  
in our trade using  mechanical marblers 
to avoid those obstacles1 which had     
hitherto offered  themselves in         
marbling4    ,the expectations which    
were placed on the mechanical marblers  
were not  fulfilled1 because1 after a   
short use1 and when not carefully kept  
clean1 they became sticky from dust and 
color mixing so that they gave  but very
 indifferent productions4 ,the necessity
 of continually cleaning  these         
mechanical marblers and their lack of   
uniformity are by no means              
recommendable properties4    ,mechanical
 marblers should be retired to small    
book-binderies for use  upon single     
books1 where they are eminently in the  
right place1 driving  away the primitive
 sprinkled or starched edges4    ,the   
interest which was shown in mechanical  
marblers is a proof that all  members of
 our trade1 who use them1 possess a     
liking for the marbling  art and would  

be zealous friends of the same1 if they 
but knew of the  methods of marbling1   
that would give beautiful results       
without great  difficulty4    ,to judge 
rightly the value of a new invention1 we
 have only to see1  whether it is       
introduced into the wholesale trade and 
is in continual  use4 ,this is the best 
test of inventions and the only proper  
basis1  upon which to judge them        
correctly4 ,we find the mechanical      
marblers  exclusively in the small shop1
 because they do not answer the demands 
of  the wholesale manufacturer in any   
way4    ,what the marbling art is able  
to offer1 a person can only judge1 who  
has  seen exemplary edges and to whom   
marbling is not a stranger4 ,no kind of 
edge1 to which color is applied1 can be 
compared to the effective  splendor of  
marbled edges4 ,in thousands of         
variations it imitates nature  and      
delights the eye by its products4       
,although marbling has hardly  reached  
the middle rung of the ladder of its    

development1 it to-day  stands          
unrivalled4    ,it is clear1 that such  
an art should be fostered and nursed1 if
 it is to  grow to its full development4
 ,but here the investigation of one man 
is  insufficient1 a general interest is 
demanded and ,i hope1 that this will  be
 aroused by my work4 ,after this slight 
diversion ,i will now begin to  treat my
 real subject1 the preparation of       
colors1 and for that purpose1  ,i will  
divide the marbling art into three      
important parts3 the size1 the  color   
and the technical application4    ,the  
size and the technical application of   
the colors demand great  attention and  
practice2 on the other hand1 the        
preparation of colors but  labor4 ,the  
colors are divided into two groups1     
mineral and lake colors4  ,in the lake  
colors1 if they are good and strong1 the
 coloring matter  bound to the metallic 
oxides is equal to one-half of the whole
 weight of  the color1 therefore they   
can be prepared as good marbling colors 

without adding anything but gall4 ,on   
the other hand1 in mineral colors1      
which in a natural or chemical way are  
bound to bodies1 the body weighs  much  
more than the coloring substance and    
even if the metallic oxide is  the real 
coloring substance1 as is the case with 
ferric hydrate1 the  organic coloring   
matters derived from the vegetable or   
animal kingdom  are preferable to the   
inorganic substances4    ,why this is   
the case we shall see further on4 ,in   
those coloring  substances1 which ,i    
have recommended as good marbling       
colors1 the  aggregate state of the body
 is amorphous and admits of the greatest
  divisibility4 ,if such a coloring     
substance is ground in the finest way   
possible1 the division of the body is a 
very great one1 but an intimate  union  
of the particles can never take place   
because first1 the color is  insoluble  
in water and1 second1 because the       
division 7diminution7 of a  body has its
 limits4 ,for this reason particles are 

isolated and lay  loosely alongside of  
each other4    ,if a mineral color is   
mixed with the necessary amount of water
 and gall  and thrown upon the size the 
drop expands to a round disc1 which upon
  close investigation1 is found to      
consist of numberless small dots4 ,when 
such coloring stuffs are used1 the union
 of the particles must be  brought about
 by some glutinous matter4 ,this is     
unnecessary with lake  colors1 where the
 coloring matter is as heavy as the body
 to which it is  bound1 as all organic  
substances possess a sufficient quantity
 of  glutinous matter to form a union of
 the particles4    ,the clearest proof  
of the correctness of my allegations we 
find in a  mineral color1 in which the  
metallic oxide was precipitated by a    
semi  organic salt1 ,i mean ,french     
blue1 which without any substance unites
 the  particles quite well if the       
washing of the precipitate after the    
blueing1 was a perfect one4    ,the     
glutinous matter used with mineral      

colors must be entirely free of  any    
acids as the smallest particle of acid1 
which in warm weather is  often formed  
after long standing causes an isolation 
of the coloring  matter in such a way1  
that it will become curdled when thrown 
upon the  size4 ,the best glutinous     
matter1 that can be used1 is dissolved  
isinglass or parchment-glue with gum    
tragacanth4 ,as the first two named     
materials are expensive they can be     
replaced by fine gum arabic free of     
acid4 ,take #d_/f of an ounce of gum    
tragacanth let it swell in #a pint of   
water and dissolve fully by boiling4 ,in
 this way we obtain a glutinous  mass1  
which is mixed by stirring with a thick 
solution of gum-arabic4  ,this mixture  
is used to unite the particles of the   
body of mineral  colors4    ,to grind   
the colors use a very smooth marble     
slab1 a roller and a  palette knife1 of 
wood or horn1 as those of steel produce 
some change  upon red colors4    ,the   
colors which are sold in the market are 

either in the form of  grooved pieces1  
little cones1 or powder4 ,if the color  
is in pieces or  little cones1 it is    
first ground to powder in a dry state   
and is then  mixed with a little water  
and from #aj to #ae drops of ox-gall to 
a thick  paste4 ,if a mineral color1 add
 a piece of the glutinous matter the    
size  of a nut1 if1 on the contrary1 we 
have a lake color1 the addition of      
water and gall is fully sufficient4     
,now commences the grinding4 ,with a    
muller you continually run in a         
circular motion over the color using a  
moderate pressure of the hands4  ,after 
about two or three hours have elapsed   
the color will have the  requisite      
fineness which is shown by its greasy1  
lacquer-lustrous  appearance4 ,during   
the grinding1 move the color from time  
to time into  the center of the marble  
with the palette knife and at the same  
time the  adhering color is removed from
 the roller4    ,when the color is      
ground fine it must be diluted with     

water in a glass  vessel and is then    
ready for use4 ,bottle tightly and keep 
it in a cool  place1 best in the cellar4
    ,for grinding the colors and        
diluting the same1 river or rain water  
should be used1 of course1              
proportionately to the quantity of color
 so  that the latter will not become too
 thin4    ,the grinding of a color is   
done mostly by apprentices as the time  
of a  journeyman would be too valuable4 
,in most cases this part of the         
preparation gives the greatest trouble1 
since the colors are seldom  gotten to  
that fineness necessary to marbling4    
,this is easily explained  as the       
grinding demands practice and a certain 
perseverance4 ,from the  point of view  
that time is money1 the majority of     
book-binders concluded  to use ready    
ground colors and this was profitable to
 them as they could  buy them better and
 finer ground and much cheaper4 ,but1   
even here1 we  sometimes find articles1 
which leave much to be desired1 but     

which1 in  most cases1 can be used4     
,for fifteen years ,i have been carrying
 on the manufacture of marbling  colors 
and must always endeavor to keep pace   
with the progress of the  chemistry of  
the colors as new products are          
continually offered for sale  superior  
to the old in quality and beauty4    ,to
 give to the trade an idea of the       
manufacture of marbling colors ,i  will 
briefly describe it4    ,it is a well   
known fact that among the great number  
of colors produced  by a factory1 there 
are always several1 which excel by their
 especially  good quality4 ,i selected1 
therefore1 from among the colors of     
several  factories1 those which were    
especially excellent and ,i now control 
an  assortment1 which hardly any single 
factory is able to supply4    ,in       
preparing them #bj pounds are always    
ground at once4 ,the color is  ground   
upon a large marble slab with water and 
gall1 to mineral colors  the necessary  
glutinous matter is added and this is   

formed to a thick  paste and then ground
 in the color-mill4 ,the grinding in the
 mill is  essential to obtain a         
homogeneous mass and then this paste is 
ground  twice on a color grinding       
machine with three porphyry rollers in  
the  finest possible way4    ,the color 
having been diluted is then prepared on 
a size1 which is  gotten up for this    
purpose and then preserved in stone     
jugs4    ,it is easily explainable1 that
 the best results must be obtained with 
such a carefully and excellently        
prepared color1 ,i1 therefore recommend 
to my fellow marblers1 the marbling     
colors manufactured by me4,a     ,a ,the
 publisher of this book1 having accepted
 the sole agency    for the ,united     
,states and ,canada of these colors1    
pledges the closest    and most prompt  
attention to all orders1 despatch in    
delivery and most    reasonable prices4 
,see price list at the end of this book4
    ,before using1 the color must always
 be well shaken and there must only  be 

taken from the bottle enough necessary  
to one marbling process4 ,the  remaining
 portion of the color must not be poured
 back into the bottle1  because if this 
be repeated several times the whole     
color would be  spoiled by the gall4    
,a small quantity of1 say from #dj to   
#ej drops of color1 is sufficient for   
marbling the edges of even a large      
number of books1 the colors must  always
 be kept tightly bottled up as they may 
be spoiled by being  exposed to the air 
for a longer period4          ,the      
,marbling of ,book ,edges and ,paper4   
,,the ,,marbling ,,of ,,book ,,edges    
,,and ,,paper4      ,the ,marbling      
consists1 generally speaking in this1   
that finely ground  fluid colors are    
thrown in drops by the aid of brushes on
 a thickly  fluid size contained in a   
flat trough1 that then by the aid of    
gall1  different marble-like designs are
 formed1 that they are lifted off the   
size by immersing the edge of the book  
and by that are transferred on  this    

edge4    ,before speaking of the        
different kinds of edges1 ,i will       
mention  something of the harmony of    
colors1 as in drawn edges the real      
harmonious combination of colors is of  
great influence on their beauty4  ,the  
application of color in the art of      
marbling gives us certainly             
extraordinary freedom and a wide range  
to our fancy1 but nevertheless  there   
are certain principles or laws necessary
 to make the colors appear  in an       
effective and beautiful way4 ,those     
tones of color which lie  between yellow
 and reddish yellow are called warm1    
those between blue  and the middle of   
reddish blue1 cold colors4 ,in the      
center lies red by  its strength and    
effectiveness forming the dividing line 
between the  warm and cold4    ,to      
explain the principles of color harmony1
 the colors are divided into  three     
groups1 first1 primary colors1 second1  
secondary1 and third1  tertiary4        
,primary colors are those which cannot  

obtain their inherent purity by  any    
mixture1 namely red1 yellow1 blue1 white
 and black4 ,secondary are  those which 
are generated by a combination of two   
primary colors1 for  instance1 orange1  
purple1 green and grey4 ,tertiary1 or   
broken colors1  are those which are     
obtained by mixing two equally powerful 
secondary  colors1 for instance1        
brownish red1 olive1 slate grey1 etc4   
,in the harmony of colors luminosity and
 intensity play the main parts4  ,the   
darkest color must occupy three times as
 much space as the lightest  and the    
succession must be kept up in this way  
always taking into  consideration the   
luminosity of the colors4    ,which     
colors must now be placed alongside one 
another to produce a  harmonious effect8
 ,the laws for this are founded on the  
peculiarity of  the power of man's      
vision4 ,the eye1 demands to be         
satisfied1 an accord  of primary colors4
 ,red requires to annihilate one sided  
irritation the  two primary colors1     

yellow and blue4 ,the secondary green is
 obtained by  a combination of yellow   
and blue1 for that reason green is the  
color  demanded by red to please the    
eye4 ,but there must be a contrast of   
colors1 for instance light red and dark 
green or dark red and light  green must 
be brought together4 ,the same thing is 
the case with other  primary colors4    
,the primary color yellow demands the   
secondary purple1  blue1 the secondary  
orange1 the tertiary color olive1 the   
secondary  orange1 brownish red and     
green1 brimstone yellow and violet4     
,the correct treatment of the shadow    
tone of a given color depends upon  the 
knowledge of the laws of the            
annihilation of color effect4 ,as in    
nature1 a shadow is formed by           
obstructing the light1 so in the technic
  of coloring the shadow is obtained by 
the annihilation of the  light-color4   
,by combination of a primary color with 
a harmonizing  secondary color of equal 
strength1 we obtain the right shadow    

tone of  the first color4 ,in this way1 
by experiments in mixing1 the right     
shadow  tones1 which form in a          
multi-colored edge1 the gradual         
transitions of  primary colors can be   
easily detected4          ,,the ,,comb  
,,marble4          ,,the ,,comb         
,,marble4    7,,see ,,specimen          
,,plates47      ,the comb or nonpareil  
marble belongs to those edges which are 
not so  frequently used1 although it is 
superior in brightness and variety of   
colors to other marbles1 provided the   
combination of colors is a correct  one 
and there are no entire blotches of the 
same color present4 ,for the            
comb-marble in general use1 four colors 
are mostly employed1 namely  black1     
blue1 yellow and red4 ,to these white is
 added1 but not as a  color1 as it is   
formed by the stylus in drawing the     
colors4    ,for precaution's sake let me
 here repeat the description of the     
preparation of colors3 before using them
 shake well and then pour into  the     

different small vessels as much of the  
same as is necessary for one  marbling  
operation only1 then put them away handy
 for use in the  following order1 black1
 blue1 yellow and red4 ,black is used   
for shading  all other colors1          
therefore1 it should be thrown on first 
as the ground  color4 ,as ,i mentioned  
before1 the colors are to be prepared   
upon a small  surface of size so that   
the whole size may not be soiled1 as it 
is  nearly unavoidable during the       
preparation to prevent several drops    
from  sinking4 ,whether the colors are  
suitable to each other as regards their 
expanding power or whether the size is  
too thick or too thin for  comb-marble  
is determined in the following manner2  
draw off the size in  a dish1 by a strip
 of paper1 throw on a drop of black1    
which if size and  color are correctly  
proportioned must expand to a spot of #d
 inches in  diameter4 ,if the drop does 
not expand in this way the size is      
either too  thick or more gall must be  

added to the color4 ,add from #e to #aj 
drops of  gall to the black color and   
repeat the experiment4 ,if then the     
color  does not expand to the given     
diameter take a stylus and draw it in   
wavy  lines such as used for            
comb-marble4 ,if the color can be drawn 
into  beautiful straight lines1 without 
following the stylus1 the size          
possesses the normal consistency and    
more gall must be added to the  color1  
until it reaches the aforementioned     
diameter1 but if the color is  drawn    
along by the stylus or cannot be easily 
cut by it1 then the size  is too thick  
and must be carefully diluted with      
water4 ,if1 on the other  hand1 the     
color in drawing with the stylus should 
run1 then the size is  too thin4 ,this  
can also be easily seen by the          
extraordinary quivering of  the size4   
,such a size cannot be used for         
comb-marble1 either you must  add some  
thick size or you must use it for common
 marble edges4 ,the  black color is the 

key to the success of a beautiful edge2 
the other  colors must be prepared      
according to the strength of the black4 
,when the ground color has spread out to
 the desired dimension1 throw on  the   
black a drop of blue1 then yellow on the
 blue and red on the yellow  which must 
all expand to a diameter of #a-a_/b     
inches4 ,should this not be  the case   
then several drops of gall are to be    
added in the order  aforesaid4 ,the     
three latter colors must be prepared by 
themselves1 and  if1 after throwing a   
drop of blue on the black1 the former   
does not  reach the necessary expansion1
 gall must be added in drops until this 
is  achieved1 then the yellow is        
manipulated in the same way4    ,when   
all colors are toned in regard to their 
power of expansion1 then  and not before
 then1 can the marbling commence4       
,with a little experience or practice   
the whole manipulation is finished  in  
less time than it takes to describe it4 
,pour the size into the trough1 take the

 top of it off with a thin piece  of    
wood which fits into the trough closely1
 smooth it over with the wood  so that  
the surface is free of bubbles1 then    
throw on1 by the aid of a  hair brush1  
the black in the direction of the length
 of the trough  towards the centre of   
the size in such a way that the first   
drop comes  in contact with the rim of  
the second1 the second with that of the 
third1 the third with the fourth1 etc41 
so that a ribbon from #d to #e  inches  
wide is formed4 ,then throw on the blue 
in drops at both sides of  the black    
following the length of the trough1 but 
the joining of the  drops must be       
avoided4 ,yellow is thrown on at both   
rims of the black  just as the blue was 
but in such a way that each drop of blue
 has a  yellow centre4 ,finally red is  
thrown on the yellow so that each drop  
of  yellow receives a red centre4 ,by   
this means we produce a beautiful       
combination of colors4 ,then take a     
thick knitting needle or a thin  stylus 

of wood and draw the colors in wavy     
lines through each other but  so that   
the stylus will pass the boundary of the
 black4 ,by doing this  white lines will
 be produced between the colors1 adding 
at the same  time1 the fifth color white
 which causes the marble to attain a    
brighter  aspect4 ,if then the comb is  
drawn across1 beautiful scales will be  
produced4    ,the books which have been 
wetted shortly before with alum water1  
are now  placed between boards or clamps
 and are dipped from right to left1     
somewhat obliquely1 into the trough so  
that the left end of the book  touches  
the size first1 and then with a firm    
hand the book is inserted  towards the  
right until the right end has touched   
the size4 ,this must be  quickly done to
 avoid the formation of air bubbles4 ,as
 soon as the  marble edge is taken off1 
the superfluous size is carefully       
removed from  the edge by a moist1 soft 
sponge so as to prohibit moisture from  
penetrating too much into the leaves of 

the book4 ,in this operation  great care
 must be exercised to prevent the marble
 edge being rubbed out  or spoiled4     
,the remainder of the color is to be    
taken off the size by the aid of  strips
 of paper and this is done in the       
following way3 one strip is  inserted   
into the size at the left end of the    
trough in such a way that  it slightly  
enters the size1 then by the aid of a   
second strip of paper1  the top of the  
color is taken off beginning at the     
right end of the  trough and moving the 
film to the left till it is brought     
between the  two strips of paper and can
 be removed from the trough into a basin
  which is kept ready1 to receive the   
waste color4 ,if the colors are  quickly
 removed in this way1 the size itself   
remains perfectly clean  even though a  
large number of books be treated4    ,on
 good work1 the book at first is only   
cut in front4 ,as soon as the  front    
edge is marbled and dry the book is     
backed1 and cut at the top and  bottom2 

both edges are wetted with alum water   
and again the colors are  thrown upon   
the size taking care1 that the scales of
 the upper edge run  in the same        
direction towards the fore-edge as those
 of the lower one4  ,in more common     
bindings1 all three sides are cut       
together and after the  front edge is   
marbled and the book is rounded and     
backed1 the marbling  of the upper and  
lower edges is executed without delay4  
,the rounding of the book must be done  
before the marbling of the upper  and   
lower edges1 because the comb would     
become disarranged1 if the  rounding    
were executed afterwards4 ,remember that
 always before throwing  on the colors1 
the top of the size must be taken off by
 the aid of the  piece of board1 as1 by 
evaporation1 a film is formed over the  
surface  which does not permit the      
expanding of the colors4 ,the quicker   
the  marbling is executed1 so much more 
beautiful will be the edges4            
,,peacock ,,marble4          ,,peacock  

,,marble4    7,,see ,,specimen          
,,plates47      ,peacock marble is one  
of the newest and prettiest of marbles4 
,it has  been much used in recent times 
for end papers of books1 which receive  
the same edges and in this connection   
gives a beautiful effect4 ,the  method  
of preparation is generally the same as 
that of the comb-edge1  the difference  
being this1 that1 after the colors have 
been drawn by the  stylus into wavy     
lines1 it is drawn by the aid of a      
movable comb1 7the  preparation of which
 ,i shall describe among the tools7 in  
such a way1  that for a distance of     
#a_/b inch the comb is made wider and   
again after a  distance of #a_/b inch is
 made narrower4 ,this is continued until
 the  entire marble is crossed by this  
opening and closing comb2 of which a    
trial is all that is necessary to make  
it all clear4          ,,the ,,bouquet  
,,marble4          ,,the ,,bouquet      
,,marble4    7,,see ,,specimen          
,,plates47      ,there is no doubt that 

from among the drawn marbles the bouquet
 marble  is one of the most brilliant1  
as it can be compared to a number of    
buttonieres placed alongside each other1
 if the combination of colors is  a good
 one4    ,in the manufacture of colored 
paper1 the bouquet marble is mostly     
produced from two or three browns and   
one black1 and is often used for  lining
 end papers in fine books4    ,after the
 colors have been thrown on1 drawn by   
the stylus and combed in  the ordinary  
way1 a rake-like wooden instrument is   
moved through the  colors right and left
 across the whole surface of the size so
 that in  moving the rake the teeth of  
the second row trace those of the first 
row  precisely1 and so on until the rake
 has been moved over the whole  surface 
from the right end of the trough to the 
left4 ,a somewhat changed  design is    
produced by treatment of the colors in  
the same way leaving  out the marbling  
comb and spreading the drops of color   
thrown on only by  the aid of the stylus

 into very narrow cross-lines and then  
using the  aforementioned rake as       
already explained4 ,the rake consists of
 a piece  of board of hard wood1 of     
about #a inch less in length1 than the  
width of  the trough1 #a-a_/d inches    
wide and #a_/b inch thick1 into which   
are  inserted two rows of sharply       
pointed wooden teeth about #a inch      
distant  from each other and leaving a  
space of about #a inch between the two  
rows1 in such a way that the teeth of   
the second row are situated  precisely  
between the teeth of the first row4     
,,entwined ,,comb ,,marble4             
,,the ,,entwined ,,comb ,,marble4       
7,,see ,,specimen ,,plates47      ,this 
comb-marble1 produced by drawing the    
comb back1 is a great favorite  on      
account of its beautiful designs1 but is
 more adapted for thicker  books as on  
those only can the pattern be seen to   
full advantage4    ,the production is   
entirely the same as that of comb       
marbles1 but the  teeth of the comb must

 be about #a_/b inch distant from each  
other and the  comb must be #a_/b inch  
less in width than the trough so that it
 can be  moved right and left at will1  
when the marble is drawn by this comb   
the  latter is drawn back in such a way 
that the teeth cross the centre of  the 
scales4          ,,the ,,snail ,,marble4
          ,,the ,,snail ,,marble4       
7,,see ,,specimen ,,plates47      ,the  
production of this marble is very       
simple4 ,the colors are thrown on  as   
for comb-marble and are drawn by the    
stylus into wavy lines and then1  one by
 one1 by the aid of the stylus1 snail   
forms are produced4      ,,the ,,gray   
,,snail ,,marble4    ,the manner of     
production is the same as that of the   
plain gray marble1  with the exception  
that so much green is added till a      
desired tone is  obtained4 ,after this  
ground-color has been thrown on1 the    
marble is  drawn by the aid of the      
stylus into snails and then taken off4  
,,the ,,common ,,greenish-,,gray ,,snail

 ,,marble4    ,to produce this the      
colors are thrown on in the following   
order1 black1  light-blue 7two parts    
water1 one part ,oriental blue17 ,indian
 yellow1  pink1 light red1 gall water1  
and1 finally1 the body color1 composed  
of  one part black and two to three     
parts sprinkling water according as the 
demand is for a lighter or darker body  
color4 ,throw the colors on the  same as
 in producing the grey marble1 7see     
marbled edges7 and when the  ground     
color is thrown on draw the marble into 
snails and take off4      ,,the ,,dark  
,,blue ,,snail ,,marble4    ,to all the 
dark marbles1 which should have an      
especially brilliant  effect1 and are   
adapted for light-colored bindings1     
there is always  added one or two parts 
of a solution of shellac and ammonia to 
the body  color1 in addition to         
sprinkling water4 ,to produce this      
marble take  black1 light brown1 light  
blue1 7one part ,indigo1 two parts      
white17  lemon yellow1 gall water and   

the body-color1 which consists of two   
parts  ,indigo1 one part black1 from one
 to two parts sprinkling water and the  
same quantity of shellac-ammonia        
solution4 ,after everything is thrown on
  the snails are formed4      ,,the     
,,dark-,,red ,,snail-,,marble4    ,this 
marble has a beautiful effect and is    
especially adapted for fine  half       
bindings with light-colored leather     
backs and corners and end  papers of the
 same pattern as the edges4 ,to produce 
this the colors are  thrown on in the   
following order1 black1 light red1 pink1
 light gray1  7four parts white1 one    
part black17 gall water and the body    
color  consisting of two parts of       
carmine lake1 one part of black and two 
parts  of sprinkling water and          
shellac-ammonia solution4 ,after        
throwing on the  ground color the snails
 are drawn4      ,,the ,,grayish-,,green
 ,,snail-,,marble4    ,to produce it the
 colors are thrown on in the following  
order1 black1  claret red 7two parts    

carmine lake and one part of black well 
mixed17  pink 7ten parts of white and   
one part of scarlet red7 gall-water     
which  forms the white veins1 and1      
finally1 the body color1 which consists 
of  one part of black1 three parts of   
sprinkling-water and an addition of     
green according to what shade of green  
is desired4          ,,general ,,remarks
 ,,upon ,,drawn ,,marbles4              
,,general ,,remarks ,,upon ,,drawn      
,,marbles4      ,all marbles that are   
drawn by the stylus or knitting-needle  
are1 in  their treatment1 more or less  
similar to the comb-marble1 therefore   
the  way to produce them is similar to  
that described in the former article    
upon comb-marbles4    ,to produce a     
pretty coloring1 it is unavoidable1 to  
use those four  colors which ,i have    
named in the former article on          
comb-marble4    ,if it is desired1 to   
use more colors than the four named1    
greater  perfection in marbling is      
essential and it takes a perfect        

practical  marbler to achieve beautiful 
products with eight colors1 but practice
  and a zealous heart will even overcome
 these difficulties4 ,the lustre of  the
 colors is due to their combination1    
according to their power of  spreading  
out and to their harmony4    ,wall-paper
 will frequently show what beautiful and
 fine effects can be  produced by three1
 or at the most four colors4    ,if the 
colors are separated by white1 they     
develop a greater lustre1  while black  
employed in the same way is productive  
of a more sombre  effect4    ,the       
separation of colors by white and black 
is most decidedly more  profitable and  
effective1 than a marble in which the   
different  variegated colors immediately
 touch each other4 ,it is therefore     
advisable always to take black as the   
ground-color1 white will be  produced   
without adding any coloring matter      
whatever by the drawing of  the colors  
with the stylus4    ,black is the       
ground-color1 upon which all the rest1  

blue1 yellow1 red  are thrown2 it is    
understood1 that they must expand in the
 proper  proportion1 to produce a clear 
marble4    ,the lustre of the colors is 
mainly a result of white and black1     
which  form1 as it were1 a frame about  
the other colors by their own           
durability4    ,the other colors1 which 
we may add to the four nonpareil colors1
 are1  different shades of red and      
yellow4 ,a bottle is filled to one half 
its  height with carmine-lake1 then     
black is added until a very deep purple 
is obtained2 another color is a powerful
 orange1 which1 if not on hand1  can be 
produced by mixing red and yellow4 ,to  
produce a beautiful  combination use the
 following colors1 black1 light blue1   
orange1 light  yellow1 purple and       
finally scarlet red1 7a color which ,i  
have recently  introduced under the name
 of safflower carmine7 this combination 
of  colors gives a surprisingly         
beautiful result4 ,to produce the       
nonpareil  7or comb7 marble with eight  

colors1 two more mixed colors are used1 
one  of which serves as a shade to light
 blue1 while the other enhances the     
lustre of the lighter colors4 ,to this  
end1 pour a little dark-blue into  a    
glass bottle and mix it with the same   
quantity of green1 obtaining a  dark    
bluish-green4 ,as a second color mix    
green and white until the color  is pale
 green4 ,to produce a desirable effect  
with these eight colors we  must observe
 the following order1 black1 light blue1
 dark bluish-green1  orange1 light      
yellow1 purple1 pale green and          
scarlet-red4    ,in this wise numberless
 variations and combinations can be     
obtained1 but  it should always be taken
 care1 that the primary colors only     
receive  shading tones of secondary or  
tertiary colors4 ,the mode of throwing  
the  colors on the size is always the   
same as ,i described it for nonpareil   
marbles namely2 form a ribbon of black  
from #d to #e inches in width in  the   
prescribed way and throw the other      

colors into the black and at both  rims 
of it but so that they are situated     
within the black4 ,the same  colors     
which are on one rim must also be thrown
 upon the other rim in  the most uniform
 way possible4 ,the marble therefore1   
before it is drawn  is similar to a     
ribbon which has in its centre the black
 stripe about #b  inches wide1 and on   
each side1 a border of different colors 
#a to #a-a_/d  inches wide4    ,the more
 colors are used for the drawn marble1  
the less of each color  except black    
should be thrown on the size4 ,although 
the colors have been  adapted to each   
other in regard to their power of       
expansion before using  them1 it is     
indispensable in producing these marbles
 with such a large  number of colors to 
assist the expansion of one color or the
 other by a  few drops of ox-gall4      
,it is necessary to see1 that the second
 color should not too greatly be        
displaced by the third1 the third by the
 fourth1 etc41 because the  color1 which

 is mostly displaced would not appear in
 the marble at all4    ,in producing    
peacock marbles1 ,i obtained most       
excellent results even  without primary 
colors4 ,they were not so bright and    
lustrous in their  general color effect1
 but their most subdued tones were most 
pleasing to  the eye4    ,to one of     
these marbles ,i used the colors in the 
following order2 black1  medium olive   
green1 dark bluish-green1 bronze or     
ochre yellow1 dark blue  and bright     
chrome yellow1 7to obtain the olive1 use
 the following  mixture2 #c parts light 
orange1 #a_/b part dark blue2           
bluish-green as  described above2 ochre 
yellow1 #b parts light chrome yellow1 #a
 part  brown2 blackish-blue1 #b parts   
dark-blue1 #a part black2 light chrome  
yellow1 #b parts light orange1 #b parts 
white47    ,beautiful bouquet marbles   
are obtained from the following colors2 
blackish-green1 #b parts black1 #a part 
green2 yellowish-green1 #b parts        
yellow1 #a part green2 light-brown1 dark

 bluish-green as above1  scarlet-red and
 light ochre yellow4 ,in this way many  
combinations of  color can be obtained1 
and it is left to the judgment of the   
marbler to  select colors and make the  
mixtures4 ,having succeeded in producing
  beautiful marbles with few colors1 it 
will be easy for anyone to produce      
others with more colors4                
,,marbled ,,edges4          ,,marbled   
,,edges4    7,,see ,,specimen ,,plates47
      ,many of my colleagues are of the 
opinion1 that marbled edges are         
inferior to drawn edges1 but this is a  
great mistake1 and here we are  able to 
show in what directions the marbling art
 is able to develop to  its full glory4 
,the field for marbled edges is so large
 and prolific in the variations  of     
shade1 that there are really no limits  
to its capabilities4    ,while making   
experiments in this field1 by accident  
,i came across some  edges without      
having an idea of the effect of the     
combination which so  astonished me by  

its beauty4    ,it would be endeavoring 
too greatly to describe the method of   
producing  all effective marbled-edges  
which came to my knowledge in my many   
years'  experience1 ,i therefore name   
but a few which will certainly invite   
imitation and study4    ,marble is the  
design of an edge of a book1 which has a
 ground or back  color and over which a 
net of veins of different colors is     
stretched4    ,for the production of    
marbled edges1 the following preparation
 of size  is advisable and in general   
use3 boil #g quarts of water and #c-a_/e
 ounces  of carrageen moss1 after       
boiling add #a quart of cold water1 in  
which  one ounce of common soda has been
 dissolved1 allow it to stand for #ab   
hours1 and filter it through a linen    
cloth when it will be ready for  use4   
,the preparation of colors is effected  
as with drawn marbles on a small        
surface of size1 but it is necessary1   
that the colors for marbled edges       
expand more than the others4 ,as first  

color1 black is generally used1  which  
is thrown on by a brush in the same way 
as in making nonpareil  marble1 but the 
other colors must be thrown on by a     
broom-corn whisk and  the more colors   
are used1 the smaller must be the drops 
of the colors  which are thrown on the  
size1 and it is further essential that  
they  should be evenly divided around4  
,then use gall-water which consists of  
#aj parts water and #a part gall and    
serves to arrange the different  colors 
so that one color can be concentrated in
 one point1 secondly1 it  has the effect
 of forming a white network of veins1   
which enhances the  effect of the other 
colors1 and finally1 the ground color   
comes into  play1 putting the whole     
carpet of colors into motion4 ,this     
color is  nothing but a common nonpareil
 color and is used either by itself or  
in  a mixture with other colors4    ,in 
preparing the ground or body color1     
enough of gall is added so as to        
slightly force the other colors into    

veins4 ,an equal part of                
sprinkling-water is added to it1 to give
 it the energetical power of  spreading 
out essential to the formation of a     
beautifully veined net4  ,the body-color
 is thrown on by a medium sized bristle 
brush1 which must  be tied near the end 
for this purpose4 ,this brush is to be  
equally  moistened with the body color1 
the best would be to moisten it by the  
aid of a common brush4 ,when this is    
done throw the color by beating the     
bristle brush on a small board upon the 
carpet of colors4 ,by this  process     
larger or smaller specks of the         
body-color are formed4      ,,the       
,,dark-,,red ,,marble4    ,the marbled  
edges are always named from the         
body-color1 as the latter  always       
occupies the largest space on the edge4 
,for dark-red marble the  following     
colors are used3 black1 light pink 7#aj 
parts white1 #a part                    
safflower-carmine71 light-grey 7#aj     
parts white1 #a part black71  gall-water

 and1 finally1 the ground color4    ,the
 latter is composed of #b parts         
carmine-lake1 #a part black and #c parts
  sprinkling-water4      ,,the          
,,plain-,,gray ,,marble4    ,this kind  
of marbling is the most profitable of   
the veined marbles  because it can be   
produced very rapidly4    ,for this     
purpose prepare the black color with    
gall in such a way1 that a  drop will   
spread out on the size to a spot of     
about #e-a_/b inches in  diameter1 then 
add an equal quantity of sprinkling     
water1 dip a large  broom-corn whisk or 
a bristle-brush into the color and throw
 it by  beating on a board upon the size
 which has been cleaned off by a strip  
of paper4 ,the color appears on the size
 a gray color with white veins1  from   
which the edge can be taken4      ,,the 
,,blue ,,marble4    ,to produce this use
 the following colors2 black1 orange or 
citron  yellow1 ,indian red with a      
little black and ,oriental blue1 finally
 adding  gall water and the body color4 

,this ground color consists of #a part  
,indigo and #a part sprinkling water4   
,,the ,,brown ,,marble4    ,this marble 
is one of the most common1 but if the   
colors are well  selected as given in   
the following paragraph it will give a  
fine effect4    ,black first1 ,havana   
brown second1 chamois third1 gall water1
 and1 as  ground color1 humin-brown with
 a little carmine lake and one part     
sprinkling water4      ,,the ,,gray     
,,marble4    ,to produce this the       
following colors are necessary1 black1  
dark purple1  light bluish green1       
gall-water and a mixture of black with  
sprinkling  water1 by which the ground  
shade1 gray1 is obtained4 ,a lighter or 
darker  gray is obtained by adding more 
or less sprinkling water to the ground  
color4      ,,the ,,olive-,,gray        
,,marble4    ,this marble has a very    
beautiful effect although in producing  
it but  three colors are used4 ,it      
belongs to the so called large-veined   
marbles  and forms an olive grayish     

ground with a fine net of veins of      
black1  dark-brown and white4 ,it is    
produced in the following way2 first    
black  is put on with the brush1 then   
brown is squirted on by the aid of a    
broom-corn whisk and then gall water and
 finally the body color is  added4 ,the 
body color consists of #b parts black1  
#a part green and the  necessary        
sprinkling-water4 ,if the shade of the  
body color is too deep1  some pure water
 is added4 ,for producing large veined  
marbles1 the brush  must be well filled 
with color1 so that in throwing on of   
the color  quite large drops will fall4 
,,the ,,black ,,marble4    ,it was      
formerly an unknown thing to produce a  
black marble over which a  net of       
light-colored veins was stretched4 ,my  
investigations have  resulted in my     
becoming able to produce this brilliant 
and effective  marble4    ,the colors   
used are scarlet-red1 bluish-green and  
gall water1 the latter  representing the
 white1 this network of veins comes out 

excellently from  the dark ground-tone4 
,the scarlet-red color is first taken   
and must  spread out in a like way1 as  
the black in the other two marbles4     
,then  follows bluish-green and         
gall-water and finally the body color is
 added4  ,the latter makes a special    
preparation necessary4 ,take #c_/e of an
 ounce  of ivory-black add #a_/f of an  
ounce of a thick solution of gum1 grind 
the  whole mixture with a mixture of    
shellac-ammonia which has been diluted  
with a little water4 ,if the color is   
ground perfectly fine it is diluted     
with the solution of shellac-ammonia and
 is ready for use4 ,should it  not be   
powerful enough to force the colors into
 veins1 a few more drops  of gall must  
be added4 ,this body color is likewise  
thrown on by the aid  of the large      
bristle brush as all other body colors4 
,as beautiful as this kind of marbling  
may be1 there is a disadvantage in  its 
use as the body color must always be    
newly prepared1 because on the  second  

day after standing it curdles1 and      
cannot be used any more4      ,,the     
,,bluish-,,gray ,,marble4    ,by mixing 
the colors very beautiful effects may be
 obtained4 ,one of  these fine marbles  
is the bluish-gray4 ,to prepare it the  
following mode  is used2 claret red 7#b 
parts carmine-lake and #a part black7   
and as body  color1 ,oriental blue mixed
 with black and sprinkling-water4       
,,gray ,,marble ,,with ,a ,,net ,,of    
,,colored ,,veins4    ,to produce this  
the following colors are used2 black1   
yellow1  cinnabar-red or ,indian-red1   
,oriental blue and gall water and       
finally the  gray body color4    ,the   
colors are put on in the following way2 
first black with the brush  into a      
ribbon-like form1 then yellow is        
squirted on in small drops by  means of 
a broom-corn whisk1 then follow red1    
blue and gall water which  are treated  
like yellow1 and finally1 the body color
 is squirted on by  the aid of a whisk  
or the large brush4 ,the latter forces  

the colors by  its great spreading power
 into beautiful veins1 after which the  
edge  can be taken off4 ,the body color 
consists of #a part black and #b parts  
sprinkling water4      ,,the ,,grayish  
,,green ,,marble4    ,this is one of the
 most beautiful specimens of marble and 
according to  the shading of the body   
color most beautiful effects can be     
produced by  it4 ,the following colors  
are used to produce it2 black1          
carmine-red 7#a  part carmine lake and  
#a_/b part black71 gray 7#a part black  
and #aj parts  white71 finally          
gall-water and the body color4    ,the  
mode of producing it is the same as     
described before4 ,the body color       
consists of #a part black1 #b parts of  
sprinkling water and as much green  as  
is necessary to produce the desired     
shade4    ,before adding sprinkling     
water to the body color1 black1 only so 
much  gall is added that it will but    
slightly push the different colors      
thrown  on4          ,,hair ,,marble4   

,,the ,,hair ,,marble4    7,,see        
,,specimen ,,plates47      ,these       
marbles are in great use and are much   
liked on account of their  rapid and    
easy production1 especially when many   
books are to be marbled2  they appear   
very elegant on account of their        
fineness4    ,for hair marbles but one  
or two colors are employed which are    
diluted  with water to #a_/c their      
volume4 ,add enough of gall to the first
 color so  that in throwing the same on 
the size it will spread sufficiently to 
form a ribbon from #e to #f inches wide4
 ,take a whisk and throw on the  second 
color in drops that are not too large   
and as nearly as possible1  equally     
distributed1 then1 with the             
bristle-brush1 or sieve and brush  throw
 sprinkling water on the colors4 ,in    
this way hair veins are formed1  showing
 more or less ground according to the   
quantity of sprinkling  water thrown on4
    ,the size is produced for all       
hair-marbles alike4 ,in the morning boil

  #c-a_/e ounces of carrageen moss in #g
 quarts of water and after the  boiling 
add #a quart of cold water1 stir the    
whole mixture several times  and allow  
it to stand during the day until it is  
fully cooled off4 ,in  the evening the  
size must be again diluted by another   
quart of water and  it is then filtered 
through a piece of linen and left to    
stand over  night4 ,the next day it is  
ready for use4 ,this holds good during  
the  summer months as the temperature of
 the air will just make the size  useful
 for this purpose4 ,during the winter   
months the size must be  allowed to     
stand for #cf hours before use4         
,,black ,,hair ,,marble4    ,to produce 
this variety of marble there is a screen
 or sieve necessary  as well as a wide  
brush having stiff bristles4 ,by adding 
gall from time  to time1 the black is   
made so expansive that a single drop    
will be  spread out to a spot of about  
#h inches in diameter4 ,dip the brush   
into  sprinkling water1 shake the brush 

well so that the superfluous water is   
thrown out1 hold the sieve above the    
size and move the brush quickly and     
lightly over it4 ,in this way the hair  
marble is finished and may be  taken    
off4      ,,red ,,hair ,,marble4    ,for
 this to be produced the best color is  
,indian or mineral red since  all other 
chemical coloring substances which are  
bound to bodies will  usually run1 on   
strong compression1 into hair veins4    
,only the excellent  lakes of ,munich   
will withstand this treatment1 but the  
fineness of the  veins leaves much to be
 desired1 whereas ,indian red answers   
every  purpose4      ,,blue ,,hair      
,,marble4    ,the mode of producing it  
is the same as applied in producing     
black  hair-marble1 but1 instead of     
black1 ,indigo is used4 ,indigo is the  
only  one among blue coloring matters   
that admits of the necessary expansion  
for the production of hair veins without
 running off or gathering into  small   
lumps4      ,,red ,,and ,,black ,,hair  

,,marble4    ,for the production of this
 marble1 black and ,indian red are      
taken4 ,the  black is first thrown upon 
the size as in black hair-vein marble1  
the  red is then treated by adding gall 
until a drop thrown upon the black  will
 spread to about #b inches in diameter4 
,the trial is made with a  brush1 but   
for the purpose of producing the marble 
a whisk is taken1 by  means of which the
 red is thrown upon the black in very   
small drops and  close to each other4   
,,bluish-,,brown ,,hair ,,marble4    ,to
 produce this marble ,indigo and        
,vandyke brown are taken4 ,the ,indigo  
is  put on first then the ,vandyke brown
 is thrown on by a whisk1 and  finally1 
the carpet of colors is forced into     
forming veins by sprinkling  water1     
which is applied by aid of the brush and
 sieve4          ,rules in regard to the
 ,marbling ,table4          ,,rules ,,in
 ,,regard ,,to ,,the ,,marbling ,,table4
      ,the table upon which marbling is 
to be executed must be firm and         

immovable4 ,on it the utensils necessary
 to marbling are placed4 ,the  trough1  
colors1 gall in a closed bottle with    
stopper pierced by a tube1  a vessel    
with water1 the comb1 the size skimmer  
are all to be within  easy reach4 ,they 
should be placed about in the following 
order2 in  front1 nearest to the workman
 and to the right1 the trough1 the      
receptacle for the waste color and board
 for skimming off the size to  the left1
 beyond the trough the vessels in which 
the colors and gall are  kept1 behind   
the first vessels containing the colors 
the dish containing  water1 and         
alongside this the bottle containing    
gall and next to it the  comb and       
stylus4 ,on the left side of the trough 
there must be a  sufficiently large     
space for the books to be marbled4      
,,precautions4      ,before closing the 
article on marbling1 ,i will add a few  
words to the  precautions to be observed
 while marbling4 ,before all else1 see  
that  the air in the room1 where the    

marbling is to be done1 is free of dust1
  as the falling dust1 especially in    
drawn marbles will form many white      
spots1 which spoil the effect of the    
marbling4    ,cleanliness should always 
be observed1 as the beauty of the       
marbles and  their rapid production     
depend on it4 ,protect the size from    
dust by a  lid1 which you place on the  
vessel1 and have a large soft sponge    
ready  to remove the superfluous size   
after each immersion of the book1 by    
which a rapid drying is obtained and the
 moisture is prohibited from            
impregnating the book4                  
,,supplementary ,,remarks4      ,a ,,new
 ,,expanding ,,medium4    ,i must       
mention here a newly discovered medium  
which has been found  essential in the  
formation of beautiful veins in plain   
marble2 take #a_/aj  quart of shellac   
orange1 add #a_/h quart spirits of      
ammonia1 allow the  whole to boil for #e
 minutes stirring repeatedly 7by which a
 uniform  solution of shellac in ammonia

 is obtained71 take it from the fire and
  dilute the solution with about #b     
quarts of water4 ,throw the fluid by    
means of the brush on the size and then 
throw on the body-color1 see  plain gray
 marble4 ,in this way beautiful white   
veins will appear1  which is explained  
by the fact1 that the surface of the    
size is covered  with an expanding      
medium1 which can be forced together by 
the  body-color1 but is strong enough to
 hinder the union of the latter4        
,,marbling ,,of ,,gilt ,,edges4         
,,marbling ,,of ,,gilt ,,edges4      ,if
 gilt1 silver or aluminium edges are to 
be marbled1 burnish slightly  and       
moisten by a soft brush with a solution 
of powdered alum in hot  water which is 
of the consistency of a thin pap4       
,the marbling of the gilt-edge is then  
executed in the usual way before  the   
coating of alum is entirely dry4        
,after the marbling is done1 water is   
poured over the edge until it is        
entirely clean4    ,when the edge is    

completely dried it is rubbed over with 
a waxed rag and  is then burnished in   
the usual way4 ,for marbling the usual  
marbling  colors are applicable1 but it 
should here be added1 that very dry     
edges  will not take the marbling colors
 readily4          ,,marbling ,,on ,a   
,,large ,,scale4      ,for the purpose  
of marbling on a large scale especial   
arrangements have  to be made1 and it is
 wonderful how elegant and practical are
 the  marbling rooms of large           
establishments4 ,for instance the tables
 and  floors are of stone and cement1 or
 of wood covered with zinc plates1  and 
the troughs and receptacles to take off 
the fluids which have been  employed are
 to be found in universal use4 ,even    
large iron cranes are  erected to hold  
the books together and lift them off1   
and to transport  them to the revolving 
drying apparatus1 which can be heated4  
,these arrangements are in keeping with 
the extent of the business and  can here
 only be lightly passed upon4           

,,the ,,utensils4          ,,the        
,,utensils4      ,,the ,,marbling       
,,trough4    ,the marbling trough is a  
long flat oblong box of about #bj inches
 in  length1 #aj inches wide1 and       
#a-a_/d inches deep inside1 and should  
be  painted within with white oil-paint 
so that the size appears light  making  
the colors more readily discernible4    
,this trough must have inserted on one  
side a sloping partition of sheet  zinc 
so that the waste of color may be       
skimmed over it by aid of paper  slips  
or a piece of wooden board without      
running it over the top4    ,in addition
 to the trough containing the marbling  
size1 a second smaller  trough or basin 
of #aj inches width1 and #a-a_/d inches 
depth is necessary  for the reception of
 the waste of color4 ,this is to be     
placed1 while  marbling1 immediately to 
the left of the first trough4           
,,size ,,skimmer4    ,this is a piece of
 wooden board about #b inches high1     
about #a_/d inch  thick and of the exact

 width of the trough4 ,at both ends the 
board is  slightly wider than the       
trough1 protruding1 and while the larger
 part of  the board moves over the      
surface of the size1 the projecting ends
 act as  guides by sliding over the rim 
of the trough4 ,in this way the board is
  always kept in a like position and    
serves to remove the air bubbles and    
films and also the color waste4         
,recently1 strips of blotting paper #a  
inch wide have been frequently and      
successfully used for the removal of    
waste of color4 ,they are applied in    
the same manner as the board4      ,,the
 ,,stylus    of wood or bone1 is used   
for the drawing of the colors in        
producing  nonpareil marbles4 ,this was 
described in the chapter on nonpareil   
edges4      ,,the ,,comb4    ,for the   
production of nonpareil marble1 the comb
 is employed1 made in  the following    
way2 take two strips of heavy           
pasteboard1 #ab inches long  and #b-a_/b
 inches wide1 divide one of these       

exactly where the needles are  to be    
inserted1 draw grooves so that the      
needles can be laid in2 glue  the part  
in which the needles are to be laid1    
insert the needles in the  grooves as   
aforesaid1 and1 after drying1 the second
 strip of pasteboard1  is glued upon the
 first4    ,the needles best adapted to 
comb making for use in comb marbling are
  fine pearl needles of steel2 they are 
preferable to the common pins  because  
they do not bend and do not offer any   
resistance to the size  while drawing   
the colors1 and also because they cut   
the colors easily  without forming      
furrows4    ,the comb is so prepared    
that the pasteboard protrudes slightly  
at both  ends1 by this the movement of  
the comb is defined by the rim of the   
trough4 ,it is advisable to prepare     
about three such combs with the  needles
 separated from each other about #c_/cb1
 #c_/af and #a_/d inch  respectively4   
,,the ,,peacock ,,comb4    ,the peacock 
comb consists of two common combs having

 strong needles  separated from one     
another by #a_/b inch4 ,these two combs 
are put together  by means of a         
pasteboard frame in such a way that they
 can be moved #a_/d  inch to the side4  
,moved sideways the needles of one comb 
move to the centre between the  needles 
of the other comb1 they cover each other
 as soon as both combs  are moved #a_/d 
inch in the opposite direction4         
,,the ,,brush4    ,to distribute the    
colors equally for drawn edges it is    
necessary to  divide the color around on
 the size as explained in the chapter on
  nonpareil marble4 ,this is almost     
impossible if a common brush is         
employed as the drops cannot be         
voluntarily directed by it1 ,i have had1
  therefore1 brushes made with bent     
bristles which make the distribution  of
 the drops easier4      ,,the           
,,broom-,,corn ,,whisk4    ,this whisk  
is made of soft broom-corn about #a to  
#b inches thick4 ,the  upper end is     
tightly bound with string or wire so    

that about #e inches of  straw protrude4
 ,these whisks are used in producing    
marble-edges4      ,,the ,,bristle      
,,brush4    ,a bristle brush #c inches  
long and from #b to #b-a_/b inches thick
 is bound  by a well waxed              
packing-thread about #a-a_/d inches from
 the top so that  the bristles are open 
for a length of #a-c_/d inches4 ,this   
brush is very  well adapted for         
distributing the drops4    ,in marbling 
large lots of books1 large broom-corn   
whisks are profitably  used for throwing
 on the body color or sprinkling water4 
,being possessed  of the above mentioned
 utensils which only are expensive at   
first1  nothing is further necessary for
 the production of beautiful edges4     
,,the ,,book ,,clamp4    ,illustration  
,the clamp is used to hold several books
 together which are to be  immersed at  
the same time into the marbling trough4 
,they are of iron  entirely1 are        
eccentrical in their movement and make a
 very quick  handling and an easier     

holding of the books possible4          
,,apparatus ,,for ,,throwing ,,on       
,,colors4    ,for the purpose of        
producing nonpareil marble an equal     
distribution of  color is desirable4    
,illustration    ,it consists of four   
small color receptacles and apparatus   
from which  protrude needles            
equi-distant from each other in the form
 of a rake4    ,the throwing of         
marble-colors at equal distances and in 
equally large  drops on the size is made
 possible by it in a very certain and   
easy way  and is even a good help to the
 inexperienced marbler in the production
  of even and exemplary edges4 ,for the 
production of comb-marble on a  large   
scale this apparatus is especially      
profitable as by using it much  time is 
saved4          ,table ,i4 ,,trying ,,of
 ,,colors4      ,illustration3 ,trying  
of ,colors for ,nonpareil ,marble4      
,black #c to #d-a_/b inches in diameter4
 ,blue1 yellow and red in rings         
within each other4    ,see ,page #aje4  

,table ,,ii4 ,,trying ,,of ,,colors4    
,illustration3 ,size too consistent4    
,result of drawing the colors with a    
stylus4    ,see ,page #ajd4      ,table 
,,iii4 ,,throwing ,,on ,,of ,,colors4   
,illustration3 ,ribbon-like ,throwing on
 of ,colors4    ,first color for        
,nonpareil ,marble4    ,see ,page #aje4 
,table ,,iv4 ,,throwing ,,on ,,of       
,,colors4      ,illustration3 ,throwing 
on of the other colors for ,nonpareil   
,marble4    ,ribbon-like in two stripes4
    ,see ,page #ajf4      ,table ,v4    
,,drawing ,,with ,,the ,,stylus4        
,illustration3 ,drawing of the colors   
thrown on    see preceding table for    
,nonpareil or ,comb ,marble4    ,see    
,page #ajf4      ,table ,,vi4           
,,nonpareil ,,marble4                   
,illustration3 ,,narrow ,,comb4         
,illustration3 ,,wide ,,comb4           
,illustration3 ,,narrow ,,and ,,wide    
,,comb4      ,illustration3 ,,comb      
,,drawn ,,back4      ,illustration3     
,,double ,,comb4      ,illustration3    

,,comb ,,drawn ,,crosswise4      ,table 
,,vii4 ,,peacock ,,and ,,bouquet        
,,marbles4      ,illustration3 ,,peacock
 ,,marble4      ,illustration3 ,,peacock
 ,,marble4      ,illustration3 ,,peacock
 ,,marble4      ,illustration3 ,,bouquet
 ,,marble4      ,illustration3          
,,american ,,marble4      ,illustration3
 ,,fancy ,,marble4      ,table ,,viii4  
,,hair-,,vein ,,marble4                 
,illustration3 ,,black4    ,see page    
#adh4      ,illustration3 ,,brown4      
,illustration3 ,,red4    ,see page #adh4
      ,illustration3 ,,blue4    ,see    
page #adh4      ,illustration3 ,,red    
,,and ,,black4    ,see page #adi4       
,illustration3 ,,bluish-,,brown4    ,see
 page #adi4      ,table ,,ix4 ,,turkish 
,,marble4      ,illustration3 ,,black4  
,thrown on in ribbon form4    ,see page 
#ach4      ,illustration3 ,,red4        
,small drops thrown on with broom-corn  
whisk4    ,see page #ach4               
,illustration3 ,,blue4    ,small drops  
thrown on with whisk4    ,see page #ach4

      ,illustration3 ,,yellow4    ,small
 drops thrown on with whisk4    ,see    
page #ach4      ,illustration3 ,,gall   
,,water    to produce white veins4      
,see page #ach4      ,illustration3     
,,ground ,,color ,,gray1    ,sprinkling 
water with ,black4    ,see pages #ach   
and #aci4      ,table ,x4 ,,turkish     
,,marble4      ,illustration3 ,,dark    
,,red4    ,see page #aci4               
,illustration3 ,,bluish ,,gray4    ,see 
page #adb4      ,illustration3 ,,brown4 
,see page #adj4      ,illustration3     
,,olive4    ,see pages #adj and #ada4   
,illustration3 ,,black4    ,see page    
#ada4      ,illustration3 ,,chamois4    
,,appendix4      ,colored ,,and         
,decorated ,edges4    ,,according ,,to  
,,the    ,,newest ,,discoveries    ,,by 
,eminent ,specialists4                  
,,starched ,,edges4          ,,starched 
,,edges4      ,a great similarity to    
marble edges have the so called starched
 edges4    ,to produce this kind of an  
edge no especial practice and no        

important  preparations are necessary1  
but it permits of many varieties4       
,for this purpose1 books already cut are
 placed into the hand press1 and  in    
such a way1 that the edge is horizontal4
    ,dissolve a small quantity of pure  
rice starch in water until it has the   
consistency of a paste1 add the         
different colors1 which must be soluble 
in water in order to color properly1    
such as carmine or vermilion1  cinnabar1
 ,turkey1 burnt umber1 ,prussian-blue1  
ultramarine1 etc4    ,when the color    
added has been carefully united by      
stirring with the  solution of starch1  
throw1 by the aid of a small whisk1 the 
solution so  colored in drops that are  
not too small on the edge placed        
horizontally1  so that the edge is      
covered as uniformly as possible4    ,as
 soon as the starch thrown on is dried1 
sprinkle on by the aid of a  sprinkling 
brush and sieve1 a darker color over the
 whole surface and  allow the whole edge
 to dry again1 then brush off the       

superfluous  starch1 and the colored and
 spotted edge will appear with veins    
interspersed4    ,the edge will be more 
effective and more similar to marble1   
if1 for  example1 bluish-gray colored   
starch and then other starch mixed with 
red1 the former in small the latter in  
larger drops1 are thrown on so  that the
 edge is quite well covered4 ,finally1 a
 dark-brown color is  sprinkled over the
 whole surface4    ,such edges have the 
effect of bluish-gray marbling          
imitations which are  interspersed by   
dark veins4 ,if you sprinkle on fluid   
gold bronze i4 e4  bronze finely ground 
in gum-arabic1 instead of the dark-brown
 color1 you  obtain the celebrated gold 
veined edge in connection with the      
starched  edge4    ,unsized paper is the
 best for producing starch edges because
 it quickly  absorbs the moisture of the
 starch and color4    ,to sized paper   
the color does not stick so readily and 
for that reason  often runs together4   
,to prevent this1 moisten the edge      

before applying  the starch color1 with 
some ox-gall1 and allow the first color 
to dry  thoroughly before applying the  
second4          ,the ,production of    
,colored ,edges4          ,,the         
,,production ,,of ,,colored ,,edges4    
,the beautiful marbled edges have nearly
 driven every other kind of edges       
entirely out of the market4    ,aside   
from marbled edges1 colored edges are   
mostly used4 ,they will keep  their     
place on account of the simplicity of   
their production and their  bright      
coloring effects4    ,red-edges1        
especially when prettily made1 give a   
dignified aspect to a  book1 so to      
speak1 and they are therefore frequently
 and properly  employed4    ,our highly 
developed color industry offers to us a 
very great number of  red colors1       
especially the carmine1 vermilions and  
cinnabars1 all of  great value in our   
trade4 ,these colors will not fade1 the 
former carmine  possesses great         
intensity1 and cinnabar has the power to

 obliterate  colors underlying it4      
,when cheap colored edges are to be     
produced even aniline colors can be     
taken into consideration4 ,for instance1
 eosine is a red color1 which  used by  
itself or in combination with carmine   
and other red colors makes  a beautiful 
color for edges but it will fade on     
exposure to the sun4    ,the preparation
 of these colors is of importance4      
,genuine carmine  should1 after the     
different pieces have been crushed1 be  
ground for a  short time with a little  
spirits of ammonia and then allowed to  
stand  until completely dissolved4 ,to  
dilute it1 a thin solution of gum or    
water 7the best is rain water7 may be   
used4 ,if too much spirits of  ammonia  
has been employed the color will assume 
a bluish hue4    ,the heavy cinnabar    
makes a more powerful binding medium    
necessary1 the  best being a paste of   
starch or a solution of gum-arabic4     
,careful  crushing and a thorough       
grinding of the color are essential4    

,genuine carmine has a red color with a 
slight bluish cast whereas  cinnabar    
approaches yellowish-red4 ,a pleasing1  
pure red can be produced  by using      
,turkish red4 ,a bright lustrous shade  
is obtained by adding some  red aniline 
color4    ,if edges have to be colored  
blue1 use ultramarine blue for dark1 or 
cobalt blue for light4    ,both colors  
must be mixed with gum-arabic or paste  
by grinding1 and1 if  necessary1 be     
diluted with water4    ,to produce      
yellow edges1 chrome yellow is mostly   
used4 ,it is for sale in  all different 
shades from the brightest               
greenish-yellow1 to the darkest         
orange-yellow4    ,in using it1 like any
 other mineral or earth colors1 it is   
finely ground  and mixed1 for use1 with 
paste4    ,green edges are often        
produced by using ,schweinfurt's green  
or  silk-green4 ,by mixing light        
chrome-yellow with cobalt-blue1 a       
beautiful  rich green results4    ,for  
brown and black the well known colors   

umber1 sepia1 vegetable  lamp-black1    
drop ivory-black and others are         
employed4    ,the color for producing   
violet edges can be best obtained by    
mixing  cobalt-blue with ,turkish-red or
 carmine4    ,it is always the most     
essential part of the process to grind  
the color  uniformly with the paste1 if 
it is desirable to obtain an edge of the
  same intensity of color4    ,a peeling
 off of the color while the edges are   
being burnished is due to  a lack of    
paste1 or of a too great consistency or 
too insufficient  fineness of the color4
    ,recently our industry has taken    
this article in hand and furnishes a    
large number of beautiful1 cheap and    
well prepared colors for producing      
edges which can be bought more          
profitably than they can be laboriously 
made4    ,as all colored edges1 to give 
a beautiful effect1 must be burnished   
after coloring1 it is advisable to      
execute the coloring while the books    
are in the press1 place the books after 

their front edges have been cut1  by the
 aid of gilding boards into the         
hand-press and with a soft brush  apply 
the color thinly4 ,if the color does not
 thoroughly cover on one  application1  
the operation must be repeated after the
 first coat has  completely dried4 ,when
 a uniform color is obtained allow the  
edge to  dry in the press and then      
burnish it well with a broad burnisher4 
,by using a little wax you will render  
the burnishing more successful4    ,the 
color will sometimes enter into unsized 
or wood paper  notwithstanding heavy    
pressure4    ,to avoid this the edges   
must be moistened with a thin paste to  
which  some alum is added4 ,it is still 
better to use the grounding substance   
manufactured by ,william ,leo1 of       
,stuttgart4    ,if beautiful edges are  
to be produced1 then1 in cutting the    
book it is  necessary to see that the   
knife of the machine is free from nicks1
 so  that the cut is clean and smooth4  
,at the fore-edge of the book there will

 always appear some small parts  of the 
different sheets protruding slightly4   
,if this is to be overcome1  these edges
 are to be treated as hollow edges which
 means that they must  be scraped hollow
 before coloring and must be burnished  
with the  round-burnisher4    ,the use  
of colored edges is always left to      
individual taste4 ,the  following rule  
may be of some advantage2 colored edges 
must have a  binding of an opposite     
color4 ,a red edge will appear to most  
advantage  with a white1 gray1          
dull-green1 dark-brown or antique       
binding4    ,bindings of a reddish-brown
 color would lose in their general      
aspect by  the employment of a red edge4
    ,if books with red edges are to be  
covered with red1 it is then essential  
that the colors of both are             
corresponding4          ,,gilt ,,edges4 
,,gilt ,,edges4      ,in the production 
of gilt edges1 there have not been any  
essential  improvements noticed4    ,if 
the gilt-edge is to-day produced more   

beautifully and perfectly than          
formerly1 it is due in part to a more   
extensive experience and practice1  and 
also to the excellent quality of        
gold-leaf now on the market4    ,no     
edges contribute so greatly to the      
generally elegant appearance of a  book 
as gilt-edges2 they are lustrous and    
rich and are more pleasing to  the eyes 
of most men than the plain and unseemly 
colored edges1 though a  great deal of  
trouble and industry is necessary to the
 production of  these beautiful effects4
    ,a principal condition in the       
production of gilt-edges is the utmost  
cleanliness and skill in executing the  
necessary manipulations4    ,in cutting 
the book1 great care must be taken that 
the cuts are entirely  smooth and clean1
 without any blemish4 ,sharp knifes are 
therefore  indispensable in this kind of
 work4    ,gilt-edges demand an entirely
 smooth surface which is only produced  
by  carefully scraping the surface with 
a steel scraper4 ,the edge must be      

scraped perfectly smooth so as not to   
show the marks of the knife in  cutting 
or those of the scraper4 ,to this end   
the books1 the edges of  which have     
already been cut1 are placed between    
gilding-boards in hand  presses in such 
a way that the fore-edge protrudes but  
slightly over the  cheeks of the press4 
,after the press has been tightly drawn 
down and has  been fastened firmly1 the 
scraping of the edges can be begun4     
,when this  tiresome work has been      
finished1 and an entirely smooth surface
 has been  obtained1 the surface is     
moistened with a paste-water and rubbed 
dry  with clean paper-shavings4 ,by this
 grinding and rubbing off1 the edge     
becomes shiny and dry1 and gains in the 
power of resistance1 which is of  great 
importance for the burnishing that      
occurs in the later stage of            
gilt-edging4    ,the smooth1 hard ground
 of paste is not sufficient for the     
production of  gilt-edges that are      
perfectly beautiful4    ,they must be   

colored lightly with bolus or chalk1    
7the most adapted to  this work is the  
finely washed ,armenian bole47    ,the  
book-binders supply establishment of    
,wm4 ,leo1 of ,stuttgart1 provides  an  
excellent article4    ,this bole after  
it has been finely ground and scraped1  
must be mixed  with a solution of       
albumen 7the white of the egg7 such as  
is used for  laying on gold leaf1 and   
must be spread lightly and evenly over  
the edge  by a fine broad hair brush or 
with a fine sponge1 to prohibit the     
scaling off of the gold4    ,this       
process must be repeated4 ,the ground of
 bole gives the gilt-edge a  dark shade 
and a high lustre and glow4    ,when the
 grounding of bole is entirely dry1 and 
all the parts clinging  to the edge have
 been carefully brushed off1 we begin   
the most difficult  part in the         
production of gilt-edges1 the laying on 
of the gold4    ,as binding medium      
between the gold-leaf and the edge of   
the book1 a  solution of the white of   

the egg is used4 ,carefully separate the
 white  of the egg from the yolk and    
dilute the same with #a pint of water   
and  stir until a perfect mixture of the
 two results4 ,after this fluid has     
stood for several hours1 it becomes     
perfectly clear1 the froth of the  egg  
floating upon the surface is removed and
 the solution is ready for  use4        
,paper containing lime makes a stronger 
size necessary4    ,to transfer the     
gold-leaf1 which has been cut on the    
gold cushion to the  size required1 on  
to the edge1 a rectangular light wooden 
frame of wood  or paste board is used1  
across which two horse hairs or silk    
threads are  stretched parallel to the  
long sides of the rectangle in such a   
way that  they can be moved at will     
nearer to or farther from one another4  
,,laying-,,on ,,apparatus4              
,,the ,,laying-,,on ,,apparatus4        
,illustration    ,much more practical   
than this frame is the laying-on        
apparatus4 ,it can  be more easily and  

securely handled1 and the laying on     
strings can be  more easily set4    ,by 
means of this simple instrument the     
sheets of gold-leaf which are  laying   
ready on the cushion and which must be  
so wide that they not only  cover the   
edge entirely but also protrude about   
#a_/h inch beyond the  gilding boards   
are transferred on to the sized edge4   
,the sizing must be  done with a soft   
camels hair brush1 not too thin and it  
is essential  that the gilding boards   
also become moistened4    ,the strings  
of this laying on apparatus or of the   
frame must be so far  distant from each 
other that they reach from gilding board
 to gilding  board4    ,the sheets of   
gold leaf that have been cut before must
 then be carefully  transferred1 one by 
one1 on the sized edge4    ,to make the 
gold-leaf adhere to the strings of the  
frame1 the strings  are rubbed slightly 
upon the hair of the head by which means
 they absorb  sufficient fatty substance
 to hold the light sheets of gold4      

,if after the gold is laid on it should 
contain any imperfections or  breaks1   
other portions must be applied to these 
abrasions4 ,the press is  then placed   
aside until the edge is entirely dry4   
,in treating the upper  and lower edges 
i4 e4 after the book has been rounded1  
care must always  be taken that in      
sizing1 not too much moisture           
impregnates the back part  of the edges 
as there is no pressure to prevent the  
size from running  in4    ,if the       
gilt-edge is to have lustre and glow by 
burnishing1 great care  must be taken to
 dry the edge well4    ,an edge1 which  
is not sufficiently dried1 will exhibit 
breaks in the  gold on burnishing1 and  
an edge which is too dry will never have
 the  desired lustre4    ,it is         
impossible to name the time within which
 gilt-edges become dry4  ,this depends  
upon the temperature of the room1 the   
quality of the paper  in the book and on
 the quantity of albumen solution which 
has been put  on the edge4    ,the      

safest way to find out whether the edge 
is dry or not is to blow  upon it4 ,if  
the lustre of the gold is dimmed for    
several seconds1 the  edge is still too 
moist1 but if the cloud vanishes        
immediately the edge  is sufficiently   
dry4    ,we can also determine by a     
careful easy burnishing whether the edge
 is  dry enough to be worked further4   
,the burnishing should always be        
executed with a flat agate burnisher1   
and afterwards followed by a flat blood 
stone4 ,the burnishing should be        
commenced by covering the edge with a   
piece of thin smooth paper that  has    
been rubbed with wax4    ,first burnish 
the gold laid on slightly1 afterwards   
continue with greater  force4    ,by    
this the edge acquires a uniformly dull 
aspect but a strong union of  gold and  
paper is thereby established4    ,before
 beginning the real burnishing rub the  
edge with a soft rag upon  which a small
 quantity of pure white wax has been    
rubbed4 ,this thin film  of wax renders 

the burnishing much easier because the  
burnisher is made  to glide more readily
 and securely over the edge4    ,the    
burnishing must first be executed       
lightly and then with greater  force4   
,the repairing of gilt-edges should be  
avoided as much as possible4  ,should it
 become1 nevertheless1 unavoidable1 then
 moisten the spots to  be repaired with 
the solution of albumen described above1
 lay on gold  leaf1 allow the spots     
which you wish to repair to become dry1 
rub off  and burnish as usual4    ,in   
place of albumen solution1 sulphuric    
ether can be used for repairing4  ,the  
latter has the advantage of causing the 
spots so repaired to become  dry        
immediately1 but it causes a lighter    
spot to appear in the  gilt-edge4       
,alcohol1 lightly applied1 can also be  
used for this purpose  and with more    
security4 ,the gilding of the hollow    
edge is produced in  the same way as    
that of the level edge4 ,in scraping1   
curved scrapers are  used4 ,to lay on   

the gold use the frame4 ,transfer the   
gold leaf from the  gold cushion to the 
strings of the frame1 then carefully    
bring these  strings closer to each     
other1 so that the gold leaf is no      
longer  straight1 but somewhat hanging  
down4 ,then transfer it to the sized    
edge4    ,to burnish give the hand press
 an oblique position1 making the front  
of  the press lay lower than the rear so
 that one half of the hollow edge  has a
 more horizontal position1 and burnish  
it with a flat burnisher in  the same   
manner as the level edge4 ,this being   
done1 the remainder of the  hollow edge 
is likewise treated at the same time1   
giving the press a  different position4 
,only after the edge has been burnished 
on both sides  with a flat burnisher1 is
 the round burnisher 7tooth7 used to    
finish the  hollow edge on its length4  
,gilding on a colored1 especially a red 
edge is very effective4 ,these          
gilt-edges with an underlying red-edge  
are of ,english origin and are  used    

generally for ,bibles and prayer books4 
,the fore edge of such books  is colored
 in an oblique position of the edge1 and
 they therefore have  not a golden1 but 
a red effect1 when opened4    ,the      
production of such edges demands a      
certain experience1 if the  coloring of 
the fore-edge shall have a correct      
effect1 and the leaves of  the book are 
to be as little as possible impregnated 
by the color4    ,this color must be    
mixed like any other edge colors with   
gum-arabic1  starch paste or the white  
of an egg4    ,all etching substances1  
such as spirits of ammonia1 must be     
avoided as  they often cause the color  
to soak too deeply into the paper4      
,in manipulating the fore edge1 open the
 book slightly1 fasten the edge  in this
 oblique position and then lightly apply
 the color4    ,when this has thoroughly
 dried1 open the edge towards the other 
side and  continue with the same        
procedure4    ,the different leaves are 
thus not only colored at the edges      

proper1 but  the color has also been    
slightly imparted to the upper and lower
 sides  of the leaves at the same time1 
and for this reason the edge of the     
book1 after it is gilded1 appears       
reddish when the book is opened out4    
,the upper and lower edges must be      
treated as all other colored edges4     
,in producing the gilt-edge in the way  
above mentioned1 rubbing off with  paste
 and grounding with bole must of course 
not be employed4    ,the production of  
edges with metal leaf or aluminium1 is  
under the same  rules as for gilt edges4
    ,to produce silver edges1 a sizing  
material of a solution of gelatine  7one
 half of a gelatine cake to one cup of  
water7 is used as a surrogate  to the   
albumen4 ,this can also be employed in  
the laying on of aluminium4    ,for base
 metal leaf care should be taken that a 
soft1 thin article is  used1 the one of 
a light hue is more pliable on account  
of the larger  quantity of tin contained
 in it than is in the darker copper one4

    ,the more pliable ,french aluminium 
is preferable to the brittle ,german    
article4    ,if gilt-edges are to be    
produced upon unsized paper1 the edges  
must be  sized with a solution of       
gelatine4          ,colored ,edges with 
,front and ,end ,gilding4               
,,colored ,,edges ,,with ,,front ,,and  
,,end ,,gilding4      ,the effect of    
edges gilt front and back with marbling 
between is  beautiful4 ,this edge is    
especially applicable to books of large 
size4    ,the plain red-edge 7carmine7  
and every marbled edge can be used in   
this  connection4    ,antique marbles   
are greatly adapted to this kind of     
book-edge  decoration4    ,illustration 
,the production of these edges does not 
offer any especial technical            
difficulties4 ,the book block must be   
treated as a hollow edge and must  be   
scraped and then decorated with antique 
marbling or red color4    ,this having  
been done1 insert the book into the     
hand-press and mark  correctly how far  

the gilding is to be done4    ,to put on
 the gold1 a solution of albumen is     
applied to the spots to be  gilded and  
then a good and substantial gold leaf is
 laid on4 ,as soon as  the edge is dry1 
burnish as any other gilt-edge4    ,a   
fine chased pearl line at the meeting of
 the two edges1 will greatly  enhance   
the effect of this beautiful edge4      
,the ,punched or ,chased ,gilt-,edge4   
,,the ,,punched ,,or ,,chased           
,,gilt-,,edge4      ,the procedure by   
which the effect of the gilt-edge is    
enhanced and  enlivened by chasing is   
very old1 in fact nearly as old as the  
gilt-edge  itself4 ,it has been driven  
out of the market as many another thing 
by  over production and has finally     
become obsolete4 ,in recent times it has
  been taken up again on account of the 
progress in the industrial arts  and is 
now very highly esteemed4 ,the design   
for such a decoration of  gilt-edges    
should always be prepared by an artist  
and should always  conform strictly to  

the decorations of the cover4           
,technically1 the production of such    
edges is not difficult4 ,some talent    
for drawing and a sure hand are         
necessary1 but the artist is repaid for 
his labor by the interest he derives    
from the execution of such kind of      
work4    ,there are two ways of         
producing them4    ,the first makes the 
ornament appear bright1 while the ground
 remains  dull1 in the other the dull   
ornament appears on the shining ground  
surface4    ,the first is the more      
effective and the more easily produced4 
,the gilt-edge is here to be treated    
like every other plain gilt-edge1 to    
produce dull ground1 burnish with a     
piece of paper between the book edge    
and the burnisher4          ,,chased    
,,edges4          ,illustration3 ,fd4   
,tondorf ,clich1--,property of ,,otto   
,,spamer4    ,,chased ,,edges4          
,transfer the design on thin tissue     
paper1 lay the paper carefully upon  the
 edge of the book placed in the press so

 that design and edge tally  perfectly1 
and fasten the paper by pasting it on   
the gilding boards4    ,if you now by   
the aid of a dull awl or a pin trace the
 design of the  tissue paper on the     
edge1 it will appear and will be the    
gilder's guide4  ,when this has been    
done with all necessary care1 remove the
 paper and  burnish the parts of the    
edge between the tracings by means of a 
small1  pointed burnisher4    ,this     
alone relieves the ornament from the    
dull gilt ground4    ,the full effect of
 such edges will be imparted when the   
outlines of the  ornaments are pressed  
in4 ,to do this1 fine steel stencils or 
stamps are  best used1 the same as are  
used for fine leather work4 ,these      
stamps and  the above mentioned agate   
burnishers can be obtained from ,wm4    
,leo1  ,stuttgart4    ,take the point   
stamp in one hand and a light hammer in 
the other and  with an easy1 equal1     
hammering make dot after dot of the     
marked pattern4  ,if the dull ground is 

then profusely marked with the small    
pearl stamp  as shown in the            
illustration1 the effect of such edges  
leaves nothing to  be desired4    ,the  
effect is still more surprising when the
 ornaments are produced in  gold of a   
different hue or of silver or color4 ,in
 the former case the  ornaments are     
carefully penciled in with albumen      
solution1 gold of a  lighter hue1 silver
 or aluminium is put on1 and1 when      
completely dried1  is burnished4        
,colored ornaments are likewise scraped 
out and then produced by  painting4     
,it is a question though1 whether the   
total effect of this last named is  a   
refined one4          ,,bronzed ,,edges4
          ,,the ,,bronzed ,,edge4       
,produced by printing over colored      
edges4 ,it is certainly proper to       
endeavor to brighten colored edges by   
spreading on bronzed color4    ,that    
this process has fallen more or less    
into disuse is probably due to  the     
tiresome labor necessary for the making 

of such edges4 ,it gives us  the        
possibility of producing manifold       
changes in edges because silver or  gold
 ornaments can be put on any color as   
well as on the white edge4    ,we have  
here the possibility of adapting the    
design of the edge to that  of the      
cover1 which under other conditions can 
only be done with chased  edges4    ,it 
is an erroneous idea to disfigure       
genuine gilt-edge by putting on  bronze 
ornaments4 ,the base and perishable     
bronze can never be the  correct        
material to brighten the effect of      
genuine gold4    ,the bronzing of edges 
can only be applied to colored or white 
edges but  not to genuine gilt-edges4   
,for the production of bronzed edges1   
the following articles are  necessary4  
,first1 ,engraved plate or ,cliche      
representing the ornament with which the
  edge is to be decorated4    ,second1  
,thin leaves of roller composition for  
the transfer of the  ornament from the  
plate on to the edge4    ,third1 ,roller

 for rolling in the gravure4    ,fourth1
 ,thick1 fluid1 strong amber-lacquer1 as
 binding medium between  the bronze and 
the color of the edge4    ,the following
 rules should be observed4    ,the      
treatment of the book block is similar  
to that of the hollow edge1  therefore  
the book1 after the fore edge has been  
cut and rounded must be  scraped hollow4
    ,as colors for the edge1 the above  
mentioned colors1 carmine1 cinnabar1    
cobalt-blue and others are              
recommendable4    ,as binding medium a  
strong albumen or gum-arabic should be  
used4 ,aniline  colors can be used for  
this purpose1 but they must be dissolved
 in  alcohol4    ,such edges have a     
bewitching appearance if they are made  
in the same  shade of color as the      
cover1 but they render a certain        
practice in the  mixture of colors      
necessary4    ,the coloring and         
burnishing of the edges is executed in  
the same manner  as described in the    
article upon the production of colored  

edges4 ,after  the burnishing of the    
edge is executed1 the time has arrived  
to imprint  the ornament upon it4       
,cut off of the thin leaf of roller     
composition1 a strip slightly larger    
than the surface of the edge4 ,put a    
little of the thick1 fluid              
amber-lacquer upon the roller1 and move 
the roller forward and back on a  smooth
 stone 7marble slab7 until the lacquer  
is equally spread out over  the surface 
of the roller4 ,when this is done1 the  
gravure can be rolled  over by aid of   
this roller4    ,the thin strip of      
roller composition is then carefully    
placed on the  gravure1 pressed on      
lightly and evenly with cotton wadding  
or a soft  rag4 ,by this means the      
ornament of the gravure is transferred  
to the  roller composition4    ,to      
transfer this ornament on to the surface
 of the edge1 it is necessary  to lay   
the strip of roller composition         
carefully on the edge and  carefully and
 evenly press it on4    ,the bronze is  

not to be put on to the edge on which   
the design is  printed before the       
lacquer is quite dry1 only then can the 
blurring of  the ornament be avoided and
 the bronze be made to retain its       
specific  metallic lustre4    ,after the
 lapse of several hours1 the bronze will
 be dry1 and then the  cleaning of the  
edge is done with soft cotton wadding4  
,the strips of roller composition so    
used must be cleaned immediately  after 
use with clean turpentine and1 after    
they are dried1 they can be  again used4
    ,in order to produce the necessary  
transfer strips use only the best       
,english roller composition4 ,cut this  
mass into small pieces1 place them  in  
an earthen vessel1 subject them to a    
moderate heat until they become         
entirely fluid and pour the fluid mass  
on a piece of glass or a smooth  sheet  
of tin4 ,after this has cooled it should
 be carefully removed4 ,to  render this 
easier1 the plate of glass or the piece 
of tin should be  lubricated with some  

fine oil4          ,producing ,marble on
 ,gilt ,edges4          ,,producing     
,,marble ,,on ,,gilt ,,edges4      ,if  
gilt1 silver or aluminium edges are to  
be marbled1 they must be  thoroughly    
dried1 burnished slightly and rubbed off
 with a small piece  of linen1 silk or  
leather1 and any blemishes or spots from
 which the  gold or other metal has     
blistered must be repaired4    ,the dull
 gilt-edge is now to be moistened by    
means of a soft brush with  a solution  
of powdered alum in hot water after this
 has formed a thin  paste4    ,the      
marbling of the gilt-edge is executed in
 the usual way1 before the  layer of    
alum is entirely dried4 ,after the      
completion of the marbling  the edge    
must be washed with water until it is   
entirely clean4    ,after the edge has  
become dry1 it is rubbed with a waxed   
rag and  burnished over4    ,for        
marbling1 the common marbling colors can
 be used4    ,it remains only to add    
that too dry edges do not take marbling 

colors  readily4          ,,contents4   
,page4    ,preface to the first edition1
                      #c    ,preface to 
the second edition1                     
#aj    ,historical1                     
#ac    ,the size1                       
#ba    ,carrageen moss1                 
#ca    ,gum tragacanth1                 
#de    ,salep1 ,flea-bane and other     
glutinous bodies1      #ec    ,the      
,ox-gall1--,its chemical analysis1      
#ei    ,effect of the gall on colors1   
#fj    ,preparation of ox-gall and its  
uses1              #fc    ,substances   
acting similarly to gall1               
#ga    ,sprinkling water1               
#ge    ,the alum water1                 
#gi    ,the preparation of colors for   
marbling1           #he    ,the marbling
 of book-edges and paper1               
#ig    ,the comb or nonpareil marble1   
#ajc    ,the peacock marble1            
#aaa    ,the bouquet marble1            
#aae    ,the entwined comb marble1      
#aai    ,the snail marble1              

#abc    ,general remarks relative to    
drawn edges1         #abi    ,marbled   
edges1                                  
#acg    ,hair-vein edges1               
#adg    ,rules in regard to the marbling
 table1           #aec    ,precautions1 
#aec    ,a new expanding medium1        
#aed    ,marbling of gilt-edges1        
#aei    ,marbling on a large scale1     
#aei    ,the ,utensils1--,the marbling  
trough1              #afc    ,the       
size-skimmer1                           
#afc    ,the drawing needle or stylus1  
#afd    ,the comb1                      
#afd    ,the peacock-comb1              
#afe    ,the brush for comb-edges1      
#afe    ,the broom-corn whisk1          
#afe    ,the brush for marbled-edges1   
#aff    ,book-clamps1                   
#aff    ,apparatus for throwing-on      
colors1                #afg    ,sample  
plates1 ,i-,x1                          
#afi-ahg      ,,appendix4      ,the     
starched edge1                          
#aic    ,the colored edge1              

#aig    ,the gilt-edge1                 
#bje    ,colored edges with front and   
end gilding1        #bai    ,the chased 
gilt-edge1                              
#bbc    ,the bronzed-edge1              
#bca    ,the marbled gilt-edge1         
#bcg            ,,price ,,list    ,,of  
,halfer's ,imported ,marbling ,colors   
,halfer's ,superior ,marbling ,colors4  
#e ,qt4 ,cans1  ,one ,qt4  ,in ,pint    
per ,qt4     ,jars4     ,jars           
,scarlet ,red                           
#a4jj       #a4be     4#gj    ,carmine  
,lake                       #a4jj       
#a4be      4#gj    ,oriental ,blue1     
light             #a4jj        #a4be    
4#gj    ,indigo1 dark                   
#a4jj        #a4be      4#gj    ,yellow1
 lemon                    #a4jj         
#a4be      4#gj    ,green               
#a4jj        #a4be      4#gj    ,black  
#a4jj        #a4be      4#gj    ,brown  
#a4jj        #a4be      4#gj    ,white  
#a4jj        #a4be      4#gj    ,,shades
 ,,prepared ,,to ,,order4               

----------------------------------------
--------------------    ,,sundries4     
,in #aj ,lb4  ,less than                
,lots4    #aj ,lbs4    ,gum ,hogg       
4#fj      4#fe    ,gum ,tragacanth      
4#ij      #a4jj    ,irish ,moss1        
carrageen                  4#ab         
4#bj                                    
----------------------------------------
--------------------    ,,sundries4     
,in        ,in                          
,quarts4   ,pints4    ,prepared ,ox     
,gall                         4#ej      
4#ce    ,sprinkling ,water              
4#ej       4#ce    ,shellac ,ammonia    
4#ej       4#ce    ,,refined ,,beeswax1 
,,etc41 ,,at ,,lowest ,,prices4         
----------------------------------------
--------------------    ,,iron          
,,marbling ,,clamps4      #b inches     
between jaws1 per dozen      #e4jj    #d
                                  #g4jj 
#f                                      
#aj4jj    #h                            
#aa4jj                                  

----------------------------------------
--------------------      ,the ,american
 ,bookbinder1    ,,buffalo1 ,n4,y4      
,complete ,marbling ,outfits4           
,,size ,a4    ,,consisting ,,of      #a 
,marbling ,trough1 #ad-a_/b x #bc1 galv4
 iron1 japanned4    #a ,basin for waste 
color1 galv4 iron1 japanned4    #a      
,basin for sprinkling water and trying  
of colors1 japanned4    #a ,sprinkling  
,brush for hair-vein edges4    #a       
,sprinkling ,sieve for hair-vein edges4 
#a_/b ,dozen ,broom ,corn ,whisks for   
,spot 7,turkish7 edges4    #a_/b ,dozen 
,bristol ,brushes for drawn edges4      
#a_/b ,dozen ,color ,recepticals4    #a 
,size ,skimmer4    #a ,stylus4    #a    
,narrow ,comb4    #a ,medium ,comb4     
#a ,piece of ,coarse ,cloth for         
straining size4    #f ,bottles ,halfer's
 ,marbling ,colors1 #a_/b pint each4    
#a ,bottle ,prepared ,ox ,gall4    #a   
,bottle ,sprinkling ,water4    #a       
,bottle ,shellac ,ammonia4    #a ,pound 
,irish ,moss4    #a_/d ,pound ,gum      

,tragacanth4    #a_/d ,pound ,gum ,hogg4
    ,,put ,,up ,,in ,,neat ,,substantial
 ,,box4    ,,price1 #be4jj1 ,,net4      
----------------------------------------
--------------------    ,,size ,b4      
,,consisting ,,of      #a ,marbling     
,trough1 #ah x #cb1 with out-let1 galv4 
iron1 japanned4    #a ,basin for waste  
color1 with out-let1 galv4 iron1        
japanned4    #a ,basin for sprinkling   
water1 trying of colors1 galv4 iron1    
japanned4    #a ,sprinkling ,brush for  
hair-vein edges4    #a ,sprinkling      
,sieve for hair-vein edges4    #a ,dozen
 ,broom ,corn ,whisks for ,spot         
7,turkish7 edges4    #a ,dozen ,bristol 
,brushes for drawn edges4    #a_/b      
,dozen ,color ,recepticals1 holding over
 one pint color each4    #a ,size       
,skimmer4    #a ,stylus4    #a-a_/h in4 
,comb made of heavy press board4        
#a-a_/d in4 ,comb1                      
#a-a_/b in4 ,comb1                      
#a ,peacock ,comb1                      
#a ,snail ,apparatus made of iron and   

brass wire4    #a ,piece of ,coarse     
,cloth for straining size4    #a ,large 
,dover ,egg ,beater for beating gum     
size4    #i ,bottles of ,halfer's       
,marbling ,colors1 #a_/b pint each4     
#a_/b ,pint ,prepared ,ox ,gall4        
#a_/b ,pint ,sprinkling ,water4    #a_/b
 ,pint ,shellac ,ammonia4    #b ,pounds 
,irish ,moss4    #a ,pound ,gum         
,tragacanth4    #a ,pound ,gum ,hogg4   
,,put ,,up ,,in ,,neat ,,substantial    
,,box4    ,,price1 #ej4jj1 ,,net4       
----------------------------------------
--------------------    ,utensils of    
above ,outfits may be ,bought ,separate 
at the following  ,prices3              
----------------------------------------
--------------------    ,,size ,a4      
,marbling ,trough1 #ad-a_/b x #bc1 galv4
 iron1 japan'd1 #c4jj    ,basin for     
waste color1                            
4#ge    ,basin for sprinkling water1    
4#ge    ,sprinkling ,brush              
4#ge    ,sprinkling ,sieve1 brass wire  
#a4ge    ,broom ,corn ,whisks1 each     

4#bj    ,bristol ,brushes1 ,no4 #a1 set 
in hard rubber1 each     4#cj           
,bristol ,brushes1 ,no4 #b1 common1 each
                 4#ae    ,stylus        
4#aj    ,size ,skimmer                  
4#be    #a_/h in4 ,comb1 best quality   
press board              #c4jj    #a_/d 
in4 ,comb                               
#a4cj    #a_/b in4 ,comb                
#a4be    ,peacock ,comb                 
#b4ge    ,snail ,apparatus1 iron and    
brass wire                #c4ej         
,straining ,cloth1 one yard square      
4#fj    ,extra large ,dover egg beater1 
for beating gum size  #c4ej             
----------------------------------------
--------------------    ,,size ,b4      
,marbling ,trough1 #ah x #cb1 with      
out-let1 galv4 iron1 japanned #d4jj     
,basin for waste color1 out-let1 galv4  
iron1 japa'd            #a4jj    ,basin 
for sprinkling water                    
#a4jj    ,sprinkling ,brush             
#a4ej    ,sprinkling ,sieve1 brass wire 
#b4ej    ,broom ,corn ,whisks1 each     

4#be    ,bristol ,brushes1 ,no4 #a1 set 
in hard rubber1 each               4#cj 
,bristol ,brushes1 ,no4 #b1 common1 each
                           4#ae         
,stylus                                 
4#aj    ,size ,skimmer                  
4#ce    #a_/h in4 ,comb1 heavy press    
board                                   
#c4be    #a_/d in4 ,comb                
#a4dj    #a_/b in4 ,comb                
#a4ce    ,peacock ,comb                 
#c4be    ,small ,apparatus1 iron and    
brass wire                              
#e4jj    ,straining ,cloth1 one yard    
square                                  
4#fj    ,extra large ,dover egg beater1 
for beating gum size            #c4ej   
----------------------------------------
--------------------    ,p4             
,s4--,marbling ,utensils not mentioned  
herein1 made to order at short  notice  
and at most reasonable prices4          
,,the ,,american ,,bookbinder1 ,buffalo1
 ,n4 ,y4          ,louis ,dejonge  ,co41
    #ga-gc ,duane ,street1 ,,new ,,york4

    444 ,,importers ,,and               
,,manufacturers ,,of 444                
,,bookbinders'1    ,,pocket ,,book ,,and
 ,,case ,,makers' ,,materials1          
,,english ,,and ,,american ,,book       
,,cloth1    ,,linen ,,buckram1          
,,surface-,,coated1 ,,fancy1 ,,glazed1  
,,plated1    ,,silver1 ,,gold1 ,,and    
,,marble ,,papers1    ,,scrap ,,book    
,,pictures1    ,,laces1 ,,borders1      
,,halfer',s ,,marbling ,,colors4    444 
,try our ,alderney ,brand ,american     
,russia4 444          ,,the    ,american
 ,bookbinder    444 ,a ,technical       
,journal written by ,bookbinders for    
,bookbinders1 and the 444    ,,official 
,,organ ,,of ,,the ,,international      
,,brotherhood4    ,,published ,,monthly4
 ,,subscription1 #a4be ,,per ,,year4    
,,devoted ,,to ,,the ,,interests ,,of   
,bookbinding and ,bookbinders4    ,the  
only ,journal of its class published in 
the ,united ,states4      ,,trade       
,,lists4         ,comprising ,printers1 
,bookbinders1 and ,kindred ,branches1   

from       the very latest and best     
sources4 ,can ,supply any ,special      
,trade1       or ,special ,state or     
,city4444                               
,,post ,,paid4    ,progress of the      
,marbling ,art1 ,halfer1     #a4be      
,nicholson's ,manual1 ,art of           
,bookbinding1    #b4be    ,zaensdorf's  
,art of ,bookbinding1            #a4he  
,crane's ,bookbinding1                  
#a4aj        ,,the ,,american           
,,bookbinder1                           
,,buffalo1 ,n4 ,y4             99       
99       99       99       99           
,transcribers ,notes3        ,some minor
 obvious typographical errors have been 
corrected      silently4        ,for the
 sake of consistency and clarity1       
fractions appearing      hyphenated     
throughout the book have been changed   
from e4g4 #a-d to      #a_/d4 ,fractions
 were also changed from e4g4 #a #a-b to 
#a-a_/b4        ,headings in the ,table 
of ,contents do not match headings in   
the      main body of the book4         

,footnote ,a has been placed after the  
paragraph it refers to so      as to not
 disrupt the flow of the text4          
,corrections made3        ,pg4 #g3 are  
the best1 is erroneous added comma even 
heavy      oxides        ,pg4 #h3 for   
color1 by sufficient replaced with      
insufficient      caution in their      
handling        ,pg4 #ac3 the           
extraordinary adaptibility replaced with
      adaptability of paper        ,pg4 
#ag3 those indispensible replaced with  
indispensable to      the art           
,pg4 #cb3 ,the preparation of carragreen
 replaced with      carrageen           
,pg4 #cg3 saw accidently replaced with  
accidentally that this      obstacle    
,pg4 #ch3 to the color to spread out4   
replaced period with      comma ,i      
filled the trough        ,pg4 #dd3 ,it  
forms flat ribbon like replaced with    
ribbon-like      pieces        ,pg4 #ec3
 yellowish white1 hornlike replaced with
 horn-like in      keeping with rest of 
text        ,pg4 #fj3 combination with  

tauro-cholic replaced with              
taurocholic in keeping with rest of text
 acid        ,pg4 #fj3 it reacts feebly 
added with acid        ,pg4 #fb3        
impregnate them with alum water added   
comma allow them      to dry partly     
,pg4 #fe3 color added and why they      
appear pale1        ,pg4 #ha3 when the  
excess of acetic acid is evaporated and 
deleted and added comma we have the     
desired acetate        ,pg4 #ha3 some   
replaced with same way as alum water    
,pg4 #acb3 bluish-green as described    
above added 2 here      ochre2 deleted 2
 yellow1 #b parts light chrome yellow   
,pg4 #acb3 ,in producing pea-cock       
replaced with peacock in      keeping   
with text marbles1        ,pg4 #acg3 in 
my many year's replaced with years'     
experience        ,pg4 #afg3 a good help
 to an removed an the inexperienced     
,pg4 #aih3 use ultramarine blue1 removed
 comma for dark added      comma        
,pg4 #bac3 the gold laid on slightly    
added comma afterwards      continue    

,pg4 #bbg3 ,fd4 ,tondorf                
,clich1--,property of ,,otto ,,spamer4  
moved      this from below title        
,,chased ,,edges to the illustration    
caption        ,pg4 #bda3 ,irish ,moss1 
carageen replaced with carrageen        
,pg4 #bdb3 #a ,sprinkling ,brush for    
heir-vein replaced with      hair-vein  
edges4        ,pg4 #bdb3 #a ,sprinkling 
,sieve for heir-vein replaced with      
hair-vein edges4        ,pg4 #bdb3 #a   
,sprinkling ,sieve for heir-vein        
replaced with      hair-vein edges4 7,in
 ,size ,b7      ,not changed3           
,pg4 #fb3 ,if #b-e not a fraction ounces
 of rosin be boiled    ,both versions of
 the following words are used in the    
text and have been  left as they appear3
        alkalis1 alkalies               
,carrageen1 carrageen      ,clich1      
,cliche      comb-edges1 comb edges     
laying-on1 laying on      marsh mallow1 
marsh-mallows      viz41 viz