There is a wide variety of marbling available from Small French Shell<\/em> and Italian<\/em> to Nonpareil<\/em> and Bouquet, <\/em>all using different paints which provide diverse effectiveness in spreading and saturation. The three main paints are oil-based, gouache and watercolour, the most popular option being watercolour for its ease of use, saturation, amount of spread and reliability. To start a marbled design, printmakers begin with a level tray filled with a substance known as size<\/em> (typically an extract of ox gall highly diluted with water). The paints are dropped onto the size according to the design and manipulated into specific patterns via combs before applying the absorbent surface of the paper to capture the design. The paper remains submerged in clean water before drying flat.<\/p>\n As with any craft, marbling developed over the years in different regions of Europe. It was no longer exclusively used for interior book decoration, but was also printed for exterior covers of manuscripts and ledgers. Marbled Morocco (<\/em>a handsome and hard-wearing leather formed from goats\u2019 skin which could easily be dyed in vibrant colours) was firstly used in Paris, as well as Marbled Calf<\/em> (the most common leather for bookbinding formed from calf hide). Marbling became the most common technique for covering the sides of Half-Bound (leather covering the corners and spine of the book) and Quarter-Bound books (leather covering only the spine). <\/em>However, marbling was also used for books bound in Russia<\/em> (specially dyed cowhide) and Half-Russia<\/em>. Many of these bindings could also incorporate marbled edges, however, books bound via Morocco<\/em> typically had gilt edges. Marbled fabrics also became the latest short-lived trend within the publishing industry, as opposed to the standard leather covers.<\/p>\n Within the main centres of education and industry during the 1700s, apprentices were educated in separate techniques of marbling, only mastering one or two patterns in total. If the apprentice attempted to set-up a rival establishment or institution, he would not have had enough expertise to form a commercially viable business, thus keeping the craft very secretive and commercially controlled. Despite only mastering select patterns, no two marbled designs would ever be the same. Marbled papers also could influence the way in which the works would be analysed and interpreted by the readers. George Berkeley\u2019s The Works of George Berkeley to which is Added an Account of his Life and Several Letters<\/em> (1820), is an example that features a Fantasy Marble<\/em> that appears contemporary in nature on the binding. Perhaps due to the sleek exterior finish, or in part due to the modest choice of colours used, the book would not look out of place amongst collections in a contemporary library, therefore calling for a forward-thinking mind-set when reading the accounts depicted within.<\/p>\n Found within the Library\u2019s collection, various styles have emerged with an assortment of colours and patterns from Stormont <\/em>to Bird Wing<\/em>, with each work showing the creativity and craftsmanship of the printmakers of the time. Since marbling is no longer a viably commercial craft, awareness of the attention to detail, patience, creativity and skill required to produce such prints has been lost. Marbling patterns held in the Library include:<\/p>\n Nonpareil<\/strong><\/p>\n The Nonpareil is formed by dropping different paints onto the size. A comb is then pulled in through the paint horizontally twice, and then once vertically.<\/p>\n [one_half] Bird Wing<\/strong> [one_half]<\/p>\n Stone Marble or Turkish<\/strong><\/p>\n Thousands of coloured droplets are splashed onto the size. The first colours to be applied constrict and become the veins as other colours are applied. Dahlia<\/strong> Stormont<\/strong> [one_half] [one_half] French Curl<\/strong> Spanish Wave Bouquet<\/strong> [one_half] Fantasy<\/strong> [one_half] Placard<\/strong> [one_half] Double Comb [one_half] Antique Straight
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<\/a>
\nStatonica del Signor Luca Assarino
\nB. Pallavicino<\/em>
\nGeneva, 1647
\n[\/one_half][one_half_last]
\n<\/a>
\nLiber De Mensura Orbis Terrae
\nDicuil<\/em>
\nBerlin, 1870
\n[\/one_half_last]<\/p>\n
\nA delicate Nonpareil pattern manipulated into large wing-like turns on the size.<\/p>\n<\/a>
\nThe Book Of Common Prayer In Ireland
\n1918
\n[\/one_half]
\n[one_half_last][\/one_half_last]<\/p>\n
\n[one_half]
\n<\/a>
\nTheatre Complet de J.B. Poquelin de Moli\u00e8re
\nJ.B. Poquelin de Moli\u00e8re<\/em>
\nParis, 1882
\n[\/one_half][one_half_last]
\n<\/a>
\nDescription of an Instrument for the Operation of Trepanning the Skull
\nSamuel Croker King<\/em>
\n1794
\n[\/one_half_last]<\/p>\n
\nThe Dahlia pattern is created, firstly by making a Zebra pattern. Large drops of ink are dropped on the size. The drops are combed in a straight line twice. Large drops of ink are then splattered on. Secondly, for the Dahlia pattern, more colours are lightly splattered on top of the Zebra pattern.
\n[one_half]
\n<\/a>
\nBishop Burnet’s History of his Own Time
\nGilbert Burnet<\/em>
\nOxford, 1833
\n[\/one_half][one_half_last]
\n
\nHistory of Rome
\nThomas Arnold<\/em>
\nLondon, 1857
\n[\/one_half_last]<\/p>\n
\nStarting with a Turkish Base, droplets of colour mixed with a dispersant, such as turpentine, are added to the size. These colours form a large network of holes.<\/p>\n
\n<\/a>
\nThe art of painting of Charles Alphonse Du Fresnoy
\nC.A. Du Fresnoy<\/em>
\nYork, 1783
\n[\/one_half]
\n[one_half_last][\/one_half_last]
\nFrench Shell<\/strong>
\nFirstly ink is mixed with ox gall and dropped onto into the size. The ox gall makes sure that the ink flows out evenly into large drops. Additional ink is mixed with some oil and applied to the size in medium sized drops. This second ink drives the previous ink into veins, while the oiled ink will create a small white outline.<\/p>\n
\n<\/a>
\nThe Book of Common Prayer
\nDublin
\n1794[\/one_half][one_half_last]
\n<\/a>
\nSupplementary Statement of Mr. Lascelles
\nMr. Lascelles<\/em>
\n1820
\n[\/one_half_last]<\/p>\n
\nFor the French Curl pattern, a Turkish pattern is created and then is swirled with a stylus or wide toothed comb.
\n[one_half]<\/a>
\nThe works of Alexander Pope
\nAlexander Pope<\/em>
\nLondon, 1847[\/one_half][one_half_last]
\nHistory Of the Conquest Of Peru
\nWilliam H. Prescott<\/em>
\nLondon, 1855
\n[\/one_half_last]<\/p>\n
\n<\/strong>The Spanish Wave begins with a Turkish pattern. The pattern can be swirled or combed. When the pattern is created, the paper is gently lowered onto the size. The water is then agitated to create a rippled fabric effect.
\n[one_half]
\n<\/a>
\nThe New Statistical Account of Scotland
\nJohn Gordon<\/em>
\nEdinburgh & London, 1845
\n[\/one_half][one_half_last]<\/a>
\nAn Exposition of the Creed
\nJohn Pearson<\/em>
\nLondon, 1824
\n[\/one_half_last]<\/p>\n
\nBeginning with a Nonpareil base, a comb with two sets of teeth is drawn through vertically in wavy lines. This causes the base to fan out like floral bouquets.<\/p>\n
\n<\/a>
\nLeabhar na nurnaightheadh gcomhchoidchiond [Book of Common Prayer. Irish]
\nWilliam O’Donnell<\/em>
\n1608-1609
\n[\/one_half]
\n[one_half_last][\/one_half_last]<\/p>\n
\nA Turkish base is applied to a thin size. A stylus is used to pull the base into loose unstructured shapes.<\/p>\n
\n<\/a>
\nThe Works of George Berkely
\nGeorge Berkely<\/em>
\nLondon, 1820
\n[\/one_half]
\n[one_half_last][\/one_half_last]<\/p>\n
\nStarting with a Turkish base the pattern is pulled into swirls and lengths using a stylus in an unstructured manner.<\/p>\n
\n<\/a>
\nCommentaire Litteral Sur Tons Les Livres De L’ancien Et Du Nouveau Testament
\nAugustin Calmet<\/em>
\nParis, 171
\n[\/one_half]
\n[one_half_last][\/one_half_last]<\/p>\n
\n<\/strong>For the Double comb pattern a Nonpareil pattern is formed, then combed through once again vertically, this time with a wider toothed comb.<\/p>\n
\n<\/a>
\nTheatre Complet de J.B. Poquelin de Moli\u00e8re
\nJ.B. Poquelin de Moli\u00e8re<\/em>
\nParis, 1882
\n[\/one_half]
\n[one_half_last][\/one_half_last]<\/p>\n
\n<\/strong>A Zebra base is created by drawing the colours through vertically before applying a series of white droplets on top.<\/p>\n