or of a solution of resinous gum. It is necessary, in either preparing an original design or in matching an example, to remember that the veins are the first splashes of colour thrown on the size, and assume that form in consequence of being driven back by the successive colours employed.
We have it on the authority of Mr. Woolnough,[1] that the old Dutch paper was wrapped round toys in order to evade the duty imposed upon it. After being carefully smoothed out, it was sold to bookbinders at a very high price, who used it upon their extra bindings, and if the paper was not large enough they were compelled to join it. After a time the manufacture was introduced into England, but either the colours are not prepared the same way, or the paper itself may not be so suitable, the colours are not brought out with such vigour and beauty, nor do they stand so well, as on the old Dutch paper. Some secret of the art has been lost, and it baffles our ablest marblers of the present day to reproduce many of the beautiful examples that may be seen in some of the old books.
For further remarks on marbled paper and marbling see chapter on colouring edges.
Printed and other Fancy Paper may be bought at fancy stationers; the variety is so great that description is impossible, but good taste and judgment should always be used by studying the style and colour of binding. Of late years a few firms have paid some attention to this branch, and have placed in the market some very pretty patterns in various tints.
The foreign binders are very fond of papers printed in bronze, and some are certainly of a most elaborate and gorgeous description. Many houses have their own favourite pattern and style. All papers having bronze on
- ↑ "The Whole Art of Marbling as applied to Paper." C. W. Woolnough. Bell and Sons, 1881.
