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by Joseph W. Zaehnsdorf
3rd Edition Published in London 1897
The size is first to be sprinkled with a dark colour, and this is always termed the “ground
colour,” then the other colours; bearing in mind that the colour that has the most gall will
spread or push the others away, and this colour should in spot marbling to put on last.
With very little variation all the other kinds of marbling are done; but in every case where
there are more books or sheets of paper to be done of the same patter than the trough will
take at once, the same order of colours must be kept, and the same proportion of each, or
one book will be of one colour and the second entirely different.
Comb or Nonpareil Marble
The colours are to be thrown on as before, but as fine as possible. Then if a piece of wood
or wire be drawn backwards and forwards across the trough, the colours, through the
disturbance of the size, will follow the motion of the stick. A comb is then to be drawn the
whole length of the trough in a contrary direction. The wire in the combe will draw the
colour, and thus will be produced what is termed comb or nonpareil marble. The size or
width of the teeth of the comb will vary the size of the marble.
Spanish Marble
The ground colour is to be thrown on rather heavily, the others lighter, and the wavy
appearance is caused by gently drawing the paper in jerks over the marble, thus causing
the colour to form small ripples. A few drops of turpentine put in the colours will give them
a different effect, viz., - causing the small white spots that appears on the shell marble.
There are various patterns, each being known by name: Old Dutch, nonpareil, antique,
carl, Spanish, shell. An apprentice would do well to go to some respectable shop and ask
for a sheet or two of the various kinds mentioned, and as each pattern is given to him,
write the name on and back and always keep it as a pattern for future use and reference.
Edges are marbled, after making the desired pattern on the trough by holding the book
firmly, pressing the edge on the colour and lifting it up sharply. The foredge must be made
flat by knocking the book on its back, but the marbler had better tie his book between a
pair of backing boards, so that it may not slip, especially with large books. Care must be
taken with books that have many plates, or if the paper is at all of a spongy nature or
unsized. If a little cold water be thrown on the edges it will cause the colours to set
better. In marbling writing paper, a sponge with a little alum water should be used to take
off the gloss or shine from the edge, occasioned by the cutting knife, and to assist the
marbling colour to take better.
Paper is marbled in the same way by holding it at two corners; then gently putting it on
the colour and pressing it evenly, but gently all over, so that the colour may take on every
part. It must be lifted carefully, as the least shake by disturbing the size will spoil the
regularity of the pattern. Paper should be damped over night and left with a weight on the
top. When the paper has been marbled and is dry, a rag with a little bee’s wax or soap
should be rubbed over it, so that the burnisher may not stick, and my give a finer gloss; this
flint or glass fixed in a long pole working in a socket at the top, the other end resting on a table which is slightly
hollowed, so that the segment of the circle which the flint takes is exactly that of the hollow table. The paper is laid
on the hollow table, and the burnisher is worked backwards and forwards until the desired gloss is attained. By
the best and latest method, the paper is passed between highly polished cylinders. It is more expensive, on
account of the cost of the machinery, but insures superior effect. A great deal of paper is now being made by
means of a mechanical process. It has a very high gloss; it is used on very cheap work.
Sizing
Paper should be always sized after being marbled. The size is made by dissolving one pound of best glue in five
gallons of water with half a pound of best white soap. This is put into a copper over night, and on a low fire the
next morning, keeping it constantly stirred to prevent burning. When quite dissolved and hot it is passed through
a cloth in a trough, and each sheet passed through the liquor and hung up to dry; when dry, burnish as above.
But it will be far cheaper to buy the paper, rather than make it at the cost of more time than will be profitable.
The charge for demy size is at the rate of 20s. to 95s. per ream, according to the quality and colour; but to those to
whom money is no object, and who would prefer to make their own marbled paper, I hope the foregoing
explanation will be explicit enough.
The “English Mechanic,” March 17th, 1871, has the following method of transferring the pattern from ordinary
marble paper to the edges of books:- “Ring the book up tightly in the press, the edge to be as flat as possible; cut
strips of the best marble paper about one inch longer than the edge, make a pad of old paper larger than the edge
of the book, and about a quarter inch thick; then get a piece of blotting paper and a sponge with a little water in;
now pour on a plate sufficient spirits of salts (muriatic acid) to saturate the paper, which must be placed marble
side downwards on the spirit (not dipped in it); when soaked put it on the edge ( which has been previously
damped with a sponge), lay your blot paper on it, then your pad, now rap it smartly all over, take off the pad and
blot, and look if the work is right, if so, take the book out and shake the marble paper off; when dry burnish.”
At a lecture delivered at the Society of Arts, January, 1878, by Mr. Woolnough, a practical marbler, the whole
process of marbling was explained. Mr. Woolnough has since published an enlarged treatise on marbling, and one
that should command that attention of the trade. A copy of the Society’s journal can be had, describing the
process, No. 1,314, vol. XXVI., and will be of great service to any reader, but his work is more exhaustive.
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