The ground is black. Paint the large spots from which the fibrous veins are to run with yellow ochre and white, the bright tone of which must be heightened by the addition of a little vermilion. These masses must be dabbed with freedom upon the ground with a brush full of color and, whilst quite wet, threads must be drawn from them in all directions, some, of course, being larger and thicker than others.
A white vein is sometimes seen running in the deepest parts of the black, with small threads attached to it, crossing each other and the yellow veins in all directions. Care must be taken that the threads are connected with, and run in some degree in the same direction as, the thicker veins. If the ground of this is properly prepared, the yellow and white veins may both be painted at once in oil color.
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.