Sienna Red or Florence Faux Marble
The marble called Sienna Red differs greatly in character, and this specimen is introduced to show how a painter may vary the character, so as to obtain an appearance in every way true to nature, and yet differing from the marbles in common use.
The background for this variety of Sienna Red is a peach/yellow mixture. The character veins are formed with a transparent glaze, composed of burnt sienna and burnt umber, and applied with a feather – a few of each running in every direction without any regularity.
This veining must be done while the ground is still wet in order that the ends may blend in with it and seem to disappear into it.
Sometimes the veining runs out of clumps and seems to break off, leaving some parts nearly free of veining’s, and then suddenly to spring up into a network as intricate as seen upon a cantelope melon.
When this layer of veining is done, the spaces are filled in with a darker transparent color, and the whole is finished off with more veining in a still darker color.
This is an excellent marble for practice, and one which might be used where a warm tone of color is required for architectural decoration.
Painting Tennessee Marble
This is an American marble. It is usually of a mauve or bluish violet tone, and of a medium between dark and light, some specimens being rather dark.
As it is plentiful and cheap much of it does not show up at its best, but there are some specimens which are very beautifully marked.
As all other marbles, it has an infinity of showings. Its general character is an all-over veining.
Some specimens, however, showing a few patches of plain white of considerable extent, and in all the better ones some large thick white veins with a number of smaller ones running in a wild way radiating from them, but with a distinct tendency to run in the same direction as the large white veins spoken of.
Marble Veining Feathers
Then there is another set of smaller veining of the same tone as the ground, but much deeper scattered nearly all over it.
The background should be put on with white paint and color made from Indian red deepened with Prussian blue, dabbed on nearly all over it and blended into the white, leaving a few patches of white and the larger fissure veins where desired, although these can be put on after the ground has become dry.
Much of the smaller veining should be put on before the ground is dry in order to mix with it and give the transparent effect so much desired.
Afterward the stronger high light effects in the large white veins and in some of the parts of the smaller ones should be touched up with flake white, andthe darker veins should be touched up here and there also with the darkest color.