In cabinet work, most beautiful imitations of the finest specimens of this marble may be produced by spreading a leaf or two of gold in any part of the work where the gold, and silver leaf where the white, veins are intended to run. The black ground is then to be rather thickly painted over the whole surface, covering the gold and silver leaf, and, after the color has been on a short time, take a round-pointed bodkin, or similar implement, and draw the color in small reticulated veins from off the gold and silver leaf; the metal will then show in fine lines; the larger masses are to be wiped off with the wash-leather spread over the point of the thumb or a piece of wood. When the black is dry, the yellow and white veins are to be painted as before directed, and drawn over the gold and silver, which will by this means show through them and give great brilliancy water when the work has been subsequently varnished.
Paint the ground a deep ivory black; put on the veins in white, yellow ochre and burnt and raw sienna, using a camel's hair brush; glaze the spaces between the veins with a thin coat of gray or white, over which pass a few white veins. The veins may also be put in with gold leaf.
Porphyry Marble. Mix the ground color of Venetian red with a little vermilion and white, until it is of the tint required. The first layer of spots is produced by sprinkling in the following manner: Mix some of the ground color with a larger quantity of white, in a paint-pot, and use a large brush which has been well worked in the color; hold the palette knife over the paint-pot and press the hairs of the brush against the edge so that as much as possible of the color may be forced out of it; then, taking the handle of the brush between the palms of the hands, roll it to and fro with a rapid motion, the ends of the hairs being below the level of the paint.
Now hold a stick firmly in front of the work and strike the handle of the brush against it; the color that still re-
