direction, and the spots will, as already explained, be larger as the brush is struck nearer to the work and smaller as the distance is increased. The darker spots are a strong tint of lake, sprinkled on the previously made spots by striking the brush very smartly once or twice over that part of the work where they are required. The whole must then be left to dry; after this, a light blue tint must be sprinkled very lightly over different parts of the surface, but in no part so thickly as to overpower the red. The larger spots are to be done with white applied with a sable pencil near the darkest sprinkling. Dark spots of a tint formed with blue and lake are now to be added, and the work is to be completed by white veins drawn with a fine camel's hair pencil.
Blue-and-Gold Marble. The ground for this marble is a light blue, and when this is quite dry dab on in separate patches light blue, white and Prussian blue, leaving portions of the ground visible. Soften these patches together and then vein in every direction with white and fill up some of the irregular spaces with yellow or gold paint, and finally add fine white veins.
Blue Ruby-Spotted Marble. The blue ruby-spotted marble comes from Switzerland; it is light-colored, beautiful marble which may be introduced either in large or small masses with equally good effect.
The ground for this marble is a very light blue, with a few patches of white in those parts where the yellow spots are afterwards to appear. Both the blue and white of the ground must be quite dry before any marbling color can be applied. A bright tint of Prussian blue nnd white may be painted on in spots over the blue ground, and above this, whilst wet, a few touches of a darker tint must be laid on in large spots sufficiently apart from each other to allow the first tint to be seen between them.
The yellow spots may now be applied over the white ground; this is done with King's yellow mixed with a little
