pigeon feather dipped in turpentine and some of the Indian red, work the pattern and well soften. When this is dry, mix some white lead mixed rather thinly with turpentine, and flat the whole of the work; then with a feather dipped in turpentine scumble over the work and subsequently put in whites with white lead and turpentine. When the work is perfectly hard it is to be varnished.
Verde Antique. The ground of Verde antique is either black or dark green, the marbling colors being dark brown and green. Scumble over the work with these, then with Brunswick green and white lead scumble over again and soften with a badger; next with a fitch paint masses of white of various shapes, squares, irregular triangles, etc., and similar masses of black.
The painter may here be reminded of the difference between scumbling and glazing. In the latter the colors are thinly mixed so as to be transparent; in the former, the color is mixed thick and thinly spread or rubbed on it with a hard brush.
Egyptian Green Marble. This marble in color nearly resembles the Verde antique; it is superior serpentine, and there are several sorts, which are called by different names, which would be of but little service to the painter, as they are all for his purposes comprehended under the above title. Egyptian green differs from Verde antique in the form of the veins, which run in a more horizontal direction, having a greater quantity of small fossil substances mixed with it, and the dark veins frequently running in streaks which often appear as if broken by violence.
Serpentine. The same kind of marble, though not so variegated in vein or color, is found in Germany, Russia and England. It is called serpentine from its supposed resemblance to the skin of a serpent and in its rich variety of color and almost indestructible hardness, and is therefore eminently suitable for architectural ornaments.
Noble or Precious Serpentine has nearly the same ap-
