This marble derives its name from its black ground and its gold-colored veins.
There are three colors in black and gold marble imitation painting, and to balance them is the greatest difficulty in imitating the marble.
The character of the marble is introduced in a color which blends the qualities of yellow, umber, and red.
The background should be put on with black paint and lightened up in parts by working in a little white in spots, as it should not be uniform in tone, but the lightest parts should be as dark as a dark slate.
A warm yellow is next introduced, and this is blended with the color which forms the character. Dab on the yellow spots where they belong and connect a few of them by veins, then blend to produce transparency.
A third and still lighter tone of color is lastly introduced, to give the required relief.
With the middle of these three tints, the small veining is put in, and this is frequently made to finish the work.
In the best specimens of this marble, however, the work is cut up with black after the introduction of the veining. Ivory black used as a glaze correct any glaring mistakes by covering them over which will then appear as belonging to the under parts.
When this is dry, the omitted spaces are filled in with a deep grey color, about two shades lighter than the black.