IMPROVEMENTS IN THE PROCESS FOR PRODUCING ARTIFICIAL MARBLES AND IN RENDERING THE SAME WATERPROOF AND FIRE PROOF
Year: 1882

page_text: LETTERS PATENT to Richard Guelton, of 48, West Street, Brighton, in the
County of Sussex. Architect. for an invention of "IMPROVEMENTS IN THE
PROCESS FOR PRODUCING ARTIFICIAL MARBLES AND IN RENDERING THE SAME
WATERPROOF AND FIRE PROOF."
PROVISIONAL SPECIFICATION left by the said Richard Guelton at the
Office of the Commissioners of Patents on the 4th May 1882.
RICHARD GUELTON of 48 West Street Brighton in the County of Sussex,
"IMPROVEMENTS IN THE PROCESS FOR PRODUCING ARTIFICIAL MARBLES AND IN
RENDERING THE SAME WATERPROOF AND FIREPROOF
"
Artificial marbles made according to this invention are produced substantially as
follows.
For the production of artificial marble I use a cement composed of alebaster and
alum and colour with mineral or vegetable colours.
I produce this artificial marble either in slabs or in any desired pattern, in
moulds.
In the production of slabs I use a smooth surface preferably of glass with a rim
round same to retain the cement, this kind of mould should rest horizontally.
For moulded patterns I make use of a mould preferably made of cement.
To form the veins in marbles I use fibres preferably of silk, singly or in nets or
skeins soaked in colouring matter according to the kind of marble to be produced
and trace the desired direction of the veins by hand or tool.
"
To produce imitations of " Bréchés" marbles, such as "Breche violette « saran-
colino" and others I use pieces of pasteboard or other suitable material cut in great
variety of size so as to produce the "brechés" of real marbles. These pieces of
paste board are preferably about one quarter of an inch thick, and sunk into the
cement so as to form on their edges with shaded cement, the veins which always
separate the "brechés " from other parts of the marble.

page_text: In the production of my imitation marbles I prefer to form the same of two
coats;
the face or ground coat, to imitate marble; and the back or supporting coat.
The first coat is made of superfine cement mixed with colouring matter, and the
second coat of coarse cement.
I dilute the cement to form the ground coat to a density about the same as plaster
used in the casting of objects, such as "Busts" or "heads," but some parts of this
cement must be some times stiffer or softer according to the kind of marble to be
produced I trace the veins on the glass by hand or tool by means of fibres of silk
previously soaked either in colouring matter or shaded cement then on these veins
I lay the back ground of the face of the marble and carefully level with a trowel
or any other suitable tool; and in order to harden or dry this back ground which
is still in a soft state, I soak off the superfluous water used to dilute the cement by
sifting carefully a coat of dry coarse cement of about half an inch thick on it:
when this coarse cement has soaked up as much moisture as it can, I remove it
with a trowel and rub the surface from which the cement has been removed with a
polished trowel for a few minutes to smooth down any roughness; then to soak off
entirely any remaining moisture I sift on again another coating of dry cement
which I remove in about ten minutes, and rub again with polished trowel. The
rubbing must be done carefully so as not to disturb the face. Then I mix the
coarse cement just removed with sufficient water to form a stiff paste which I
spread on the back and level it with a trowel or straight edge. I form this backing
coat about half an inch thick. For the purpose of hardening the backing I mix
a small quantity of sulphate of iron in it. For strength I place in the backing
coat pieces of slate or iron rods.
For setting of the cements I allow from sixteen to twenty four hours and remove
the moulds and the mass is left to dry thoroughly; when this has taken place
usually in two or three days I rub the face with a smoothing stone such as pumice
stone and water to make the same quite smooth; then with a superfine coloured
cement and water I carefully stop the pores of the face using a suitable brush; a
common sash brush answers very well. I remove all superfluous stopping with a
thin flat piece of wood or metal, when this stopping coat is quite set which will
require at least twenty four hours I rub again the face with a polishing stone until
quite smooth and shews no pores; after drying perfectly I polish with putty powder
or any other suitable polishing agent.
To make the back of this artificial marble water-proof I use the following mixture,
Brick dust 13 parts Litherage 1 part mixed with sufficient linseed oil to form a
paste which I apply to the back coat with a hard sash brush, or thin blade of
polished metal.
To waterproof the face I polish it with the following mixture: white shellac,
spirit of wine, naptha and turpentine dissolved together. I lay this mixture on
with a soft rag or piece of wadding and rub gently until I get a bright polish. To
facilitate the spreading of this mixture and to prevent it from thickening I use a
small quantity of oil.
For fire proofing my imitation marble I use the following mixture. Brick dust
twelve parts, chalk six parts sand six parts, the whole well mixed together with a
small quantity of silicate of potassium and sufficient water to form a thick paste
which I spread on the back part and expose it to a heat of about 120°. F. for about
24 hours.
To produce a kind of crystalization on the face I mix superfine cement with
warm water and spray it on to the face by any suitable means, this is done directly
after the removal of the mould and while the cement is setting This crystalization
is produced by the chemical action of the alum which as before described is mixed
with the alebaster and cement.
To produce bright spots found in most coloured marbles I use slices of alebaster
about one eighth of an inch thick; these slices I break into small pieces according
to the marble to be imitated. These pieces are pressed through the face while it is

page_text: in a soft state; or by sticking them lightly in the mould before the face coat of
the marble is put down. When a great quantity of these pieces are required in the
face, like in "granite" "prophry""brocatella,' and such kind of marbles, I mix them
with the cement that forms the facing coat, and to produce a quick setting of this I
mix the cement with alum and water.
The colours I use in the production of my artificial marbles are: Light and dark
purples, brown, burnt and raw sienna, vermilion, orange, lemon and red chromes,
chinese blue, ivory black, ultramarine, lake, brown lake, and crimson lake; I colour
the cement that forms the face of iny artificial marbles with such of these colours,
as are necessary according to the kind of marble I wish to imitate.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed by
the said Richard Guelton in the Great Seal Patent Office on the 4th November
1882.
RICHARD GUELTON of 48 West Street Brighton in the County of Sussex
Architect. "IMPROVEMENTS IN THE PROCESS FOR PRODUCING ARTIFICIAL MARBLES
AND IN RENDERING THE SAME WATERPROOF AND FIREPROOF."
For the production of artificial marble I use superfine and coarse cements made
of alabaster combined with alum and colour with vegetable and mineral colours.
The colours I chiefly use are; light and dark purples, brown, burnt and raw sienna,
vermilion, orange lemon, and red chromes, chinese blue, ivory black ultramarine
lake, brown lake, and crimson lake.
I colour the cement that forms the face of my artificial marbles with such of
these colours as are necessary according to the kind of marble I wish to imitate.
I produce this artificial marble either in slabs, or in any desired pattern, in moulds.
In the production of slabs, I use a smooth surface, preferably glass, which should
rest horizontally. For moulded patterns, I make use of a mould, preferably made
of cement. I prefer to form my imitation marble of two coats or layers of cements,
the face or grained coat to imitate marble, and a backing or supporting coat. The
first coat is made of superfine cement, in which is mixed the necessary colouring
matters, and the second one of coarse cement.
"
Having arranged the smooth surface or mould and prepared the necessary
cements and colouring matter and made the superfine cement into a thin
paste with water proceed as follows. I first trace the veins on the smooth
surface or face of the mould by hand or tool by means of fibres of silk
soaked either in coloured water or coloured or shaded cement, then on these
veins I lay the layer of prepared superfine cement intended to form the face
of the marble and level carefully with a trowel or any other suitable tool;
then to harden or dry this face coat I soak off as much of the water used to
mix the cement as possible by sifting carefully on it (the cement) a coat of
dry coarse cement of about half an inch thick; when this cement has soaked up
as much moisture as it can, I remove it with a trowel and rub the surface-fron
which the coarse cement has been removed-with a polished trowel for a few
minutes to smooth down any roughness; then to soak off entirely any remaining
moisture I sift on again another coating of dry coarse cement which I remove in
about ten minutes and rub again with polished trowel. The rubbing must be done
carefully so as not to disturb the face. Then I mix the coarse cement just removed
with sufficient water to form a stiff paste which I spread on the back and level it
with a trowel or straight edge. I form this backing coat about half an inch thick,
while for the face coat I have found from an eighth of an inch and upwards
according to the kind of marble to be imitated, sufficient. For the purpose of
hardening the backing or supporting coat I mix in the cement of which it is
formed a small quantity of sulphate of iron. To strengthen the whole I embed in
the back pieces of slate or rods or strips of metal hooping.
For setting of the cement I allow from sixteen to twenty four hours then
remove the mould and leave the article to dry thoroughly. When this have taken
place, usually in two or three days, I rub the face with a smoothing stone, such
as pumice stone, and water until quite smooth. Then with superfine cement and
water coloured in accordance with the face, I carefully stop the pores of the face
using a suitable brush,-a common sash brush answers very well-then I remove
all superfluous stopping with a thin flat piece of wood or metal; when this stopping
has quite set, which will require at least twenty four hours, I rub the face again

page_text: with a polishing stone until quite smooth and shows no pores, After drying
perfectly I polish with putty powder or other suitable polishing agent.
To produce imitations of brêches marbles, such as Breche Violette and others
I use pieces of pasteboard or other suitable material cut in a great variety of sizes
so as to produce imitations of the breches of real marbles. These pieces of paste-
board are preferably about one quarter of an inch thick and the veins which
always separate the breches from the other parts of the marble are formed on
their (pieces of cardboard) edges with shaded or coloured cement.
To produce bright spots found in most coloured marbles I use pieces or slices of
alabaster about an eighth of an inch thick, these slices I break in small pieces
according to the marble to be imitated. These pieces are pressed through the face
while it is still in a soft state, or by sticking them lightly in the mould or on the
smooth surface, after or before the veins are traced and before the face coat is put
down. When a great quantity of these pieces are required in the face like in
granite Prophry and Brocatella; I mix them with the cement that forms the facing
coat, and as it is necessary in this case for this coat to set quickly I mix an extra
quantity of alum either in the cement or dissolve it in the water used to mix the
cement.
To produce a kind of crystallization on the face of this imitation marble I mix
the cement that forms the face with warın water and cast the article in a warm
room say of a temperature of about 85° F, when this casting is done I submit it to
a cold current during the time of setting of the cement. In frosty weather it will
only be necessary to remove the freshly cast object from the warm room in which
it has been cast, into another open to the atmosphere; at other times the cold
current can be produced by refrigerating means. The crystallization is produced
by the chemical action of the alum and the contraction caused by the cold.
To waterproof the backing of this imitation marble I use the following mixture.
Brick dust 13 parts litherage 1 part mixed with sufficient boiled linseed oil to form
a paste which I apply to the back with a hard sash brush or a thin blade of polished
metal.
To waterproof the face I polish it with the following mixture, white shellac
10 parts spirits of wine 20 parts naptha 1 part and turpentine 1 part by weight
dissolved together, I lay this mixture on with a soft rag or piece of wadding and
rub gently until I get a bright polish. To facilitate the spreading & working of
this mixture and prevent thickening, I use a small quantity of oil.
To fireproof my imitation marbles I use the following mixture.-Brick dust
about 12 parts, chalk 6 parts sand 6 parts and about 24 parts of amiante or
asbestos in powder, the whole well mixed together with a small quantity of silicate
of potassium and sufficient water to form a stiff paste, which I spread on the back
part and expose to a heat of about 120° F. for about 24 hours.
To produce imitations of the following marbles according to this invention
I proceed as follows-
ROUGE ROYAL OR BELGIAN RED.
I use the following colours-Light purple, brown dark purple, brown, burnt
sienna, vermilion, dark orange chrome, chinese blue and ivory black. I take the
quantity of cement required to form the face or grained coat and form same into a
thin paste with water; of this mixed cement 1 take a part about to form the
veins, I divide this into four parts, I shade the first part of a whitish tint with
a little of black and blue; the second part of a light yellowish tint and the two
other parts with some blue black and a little of light purple brown, one of these
last two parts must be of a rather dark bluish tint and the other a little paler
with a slight redish tint with the remaining I form the face coat. I shade this
quantity of cement in four parts in the following proportions: to about or
half I give a rather dark bronish tint; to about a little darker than the first
I use the following colours-Light purple, brown dark purple, brown, burnt
sienna, vermilion, dark orange chrome, chinese blue and ivory black. I take the
quantity of cement required to form the face or grained coat and form same into a
thin paste with water; of this mixed cement 1 take a part about to form the
veins, I divide this into four parts, I shade the first part of a whitish tint with
a little of black and blue; the second part of a light yellowish tint and the two
other parts with some blue black and a little of light purple brown, one of these
last two parts must be of a rather dark bluish tint and the other a little paler
with a slight redish tint with the remaining 8 I form the face coat. I shade this
quantity of cement in four parts in the following proportions: to about 10 or
half I give a rather dark bronish tint; to about a little darker than the first
party to about
the burnt sienna must prevail and this part must be paier than
20

page_text: the two first parts. To the remaining the light-purple brown must prevail,
and as this part must be the brightest of all a little of vermilion may be
added. All these tints must be coloured according to the shades of the real
narble. Then I take a piece of plate glass about 2 feet-square to act as a pallet
on which I put a part of each tint prepared for the veins and I take care to keep
these tints apart, then I take a net formed of fibres of silk or other suitable
material which I soak in the tinted cements, on the plate of glass, when well
soaked I spread it out and touch the face of the mould or the smooth surface with
it to trace the veins; then I rise it off with care and repeat the operation until the
veins are completed: when the fibres of the net get too dry I soak them again in
the tints. To form some kind of patches here and there as is found in the real
marble I use a small tool made of steel or wood having the shape of a small spoon
at the ends. These patches are formed with parts of the tints used to trace the
veins. When the veins are all traced I form the back ground with the four dark
tints as stated. To lay the back ground on the veins I use my hand instead of
tool, and to form the graining figures I mix these four tints a little together but I
take care to produce various shades. Then before the veins are all covered
I throw the remainder of the tints used for the veins and patches through the back
ground, to form the whitish and bluish grey spots found in the real marble: then
cover all the veins with the remainder of the tints used for the back ground, or
face coat, or the veins, and complete the object as described.
BLACK AND GOLD
I use the following colours, Ivory drop black ultramarine blue, raw-sienna,
burnt sienna, red chrome, orange chrome, and vermilion. The three last colours
are used in very small quantities. The required quantity quantity of cement being
mixed with water, I take about and divide this into six parts in basins. I shade
these six parts as follows. The first with raw sienna, the second with burnt sienna,
the third with red chrome; the fourth with orange-chrome; the fifth with vermilion,
and the sixth with ultramarine blue. The five first shades must be mixed slightly
together so as to produce the various shades of the veins, The sixth part must be
tinted with a little blue and black to form the small whitish patches and veins;
I divide the rest of the cement (34) into two parts to form the background of the
face; one part must have a blue black tint and rather dark, the other must be
paler, and of a greyish tint. When all the shades are prepared I put on the plate
of glass a part of each of the six tints, then with the same tool before mentioned
I lay or trace the veins on the face of the mould or smooth surface with the six
tints on some parts I use small nets or a single fibre. When these veins are
entirely traced and finished I allow them to become hard during a few minutes,
then lay on the top of these veins the background or face with the two tints
prepared for this purpose; I lay down this back ground with hand taking care
not to destroy the figures of the veins; when the surface of the mould or the
smooth surface is entirely covered I complete as before described.
ST. ANN BELGIAN MARBLE.
I use the following colours, Ivory drop black, chinese blue, light purple, brown,
and a very small quantity of orange chrome. From the required quantity of
mixed cement, I take about which I divide into four parts, and the remaining
into three parts to form the background. To about I give a dark tint, with
ivory black, chinese blue, and light purple brown, to the second part about Ⓡ I
give a lighter tint than to the first part, and though the same colours are used the
chinese hue must prevail; the third part or remainder must be also of a dark tint,
but the light-purple brown must prevail. When these three tints are ready I

page_text: lighest tint prepared for the back ground, so also the second one, but a little
lighter than the first: the third must be of a whitish tint but shaded with a
little black and blue, the fourth part I tint with a very little orange chrome.
When all these tints are prepared I put on the plate of glass a part of each tint
prepared for the veins then with a net made according to the figures of the marble
I trace the veins on the face of the mould or smooth surface as already described.
I also form patches here and there as before described. When all the veins are
traced I take first a small quantity of the darkest tint prepared for the back
ground which I put in a basin and throw it bit by bit on the veins taking care
not to cover them entirely; then I do the same with the small quantity of the
second part as well as with the third. Then with the remainder of the tints used
for the veins I form some light greyish parts and spots by throwing it rather
sharply on the back ground so as to cause it to pass through: then I cover the
veins entirely with the remainder of the cement prepared for the back ground and
complete as before described.

page_text: I use the following colours, Ivory black, ultramarine blue, chinese blue and a
small quantity of vermilion. From the required quantity of mixed cement, I take
about which I divide into two parts in separate basins to trace the veins with ;
I tint these two parts with a little of each of the above colours and give them (the
parts) a greyish shade, one a little darker than the other, according to the veins in
the real marble then I divide the remaining 18 of the mixed cement into three
parts to the first part about the cement being white, I only shade it a very
little with the above colours, to the second part about I give a greyish white
tint; to the third part about I give a bluish white and greyish tint.
To trace the darkest veins mix a small quantity of each of the above colours
with water, then in this coloured water I soak skeins formed of fibres of silk or
other suitable material. Then I take a small quantity of the first white tint
prepared for the background which I put in a small basin then with a little water
I make this small quantity of white cement a little thinner than the other parts,
and I throw it here and there on the face of the mould or snooth surface, this is
to form some kind of breaks and soften the veins: then with the skeins soaked in
the coloured water I trace the veins by spreading and laying them on the face of
the mould or smooth surface then I put on the plate of glass the two tints prepared
for the veins, then then with a net made with fibres of silk about thirty inches long I
trace the veins of the second ground by soaking this net in the two tints on the
plate of glass, and laying it on the face of the mould or smooth surface I repeat
this until the veins are properly traced then with a thick fillet of silk which I
soak in the whitest tint I trace the whitish runs of the marble by reapeated
touching with this fillet well soaked. I take care to trace the whitish runs almost
in parallel lines with the veins, then I lay on these veins and runs the three tints
prepared for the back ground so as to cover the veins entirely. Then I take off
the skeins which have just traced the veins, and with a trowel I level this ground
coat and complete as before described.
BLUE FLEURI, (BARDILLA).
I use the following colours Ivory black, chinese blue, ultramarine blue, light
purple brown, brown and crimson lake. From the required quantity of mixed
To the
cement I take about to form the veins and divide it into three parts.
first part I give a dark tint with a slight shade of purple, and use black, chinese
blue, light purple brown and crimson lake. To the second part I give a paler tint
than to the first part and of a greyish appearance. To the third I give a whitish
tint with a little black and blue; then I divide the remaining 23 of the cement into
three parts to form the back ground to the first part about I give a bluish grey
tint which must be a great deal paler than the two first parts, in this part I use
black, blue, and a little of crimson lake. To the second part about I give a
paler tint than to the first part, and I use the ultramarine blue instead of chinese
blue. To the third part about I give a darker tint than to the two first parts,
but paler than the two first parts for the veins. Then I put on the plate of glass
a portion of each part prepared for the veins and with a net about three feet long
formed of thin fibres of silk made to produce the figures of the veins, I trace the
veins on the face of the mould or the smooth surface by about the same means as

page_text: I use the following colou
purple brown, ivory black, a little red chrome, and orange chrome.
From the required quantity of mixed cement I take about, which I divide in
as many basins as there are colours, then I tint each of these parts with a small
quantity of each of the above colours. Then I divide the remaining into three
parts, the first part about I give a whitish tint with a little of ivory black,
ultramarine blue and a very small quantity of vermilion and orange chrome. To
the second part about I give also a whitish tint but with a shade of violet: to
the third part about I give a white yellowish tint, these three last parts are to
form the back ground of the marble, and the seven first parts are to form the veins,
and also to shade a little the parts used to form the back ground.-I mix these
seven last parts a little with each other so as to shade them in accordance with the
corresponding colours in real marble. When the above tints are all prepared I use
pieces of pasteboard to form the various breches, before however laying the pieces
of pastboard on the surface of the mould or smooth surface I form on the edges
the veins which always separate the breches from the other parts in real marble.
To make these veins I use some of the tinted cement prepared for this purpose;
to lay this tinted cement on these edges I use a small moulding tool or a kind of
knive taking care to form these veins in accordance with those in real marble.
These pieces of pasteboard I lay on the face of the mould or smooth surface:
then to form some veins between the breches I use nets prepared according to the
figures in the veins of real marble. I soak these nets in a dark purple and violet
water, which water I colour with ultramarine blue, a little ivory black, vermilion,
light purple, brown and crimson lake. On these nets when laid on the face of the
mould or sinooth surface I form the running parts or soft breches of the marble
and use the tinted cement prepared for that purpose for the back ground, then I
remove these nets and level a little of the cement, and to stiffen it slightly, I sift
on it a small quantity of dry superfine cement, then I remove the pieces of
pasteboard and to prevent the veins traced on their edges sticking to them I pass
a thin knife between then on the empty places left by the removal of the pieces of
pasteboard I form the sharp breches varied in shade or colour as in the real marble.
To form these breches I use almost an equal portion of each part of the tinted
cement, then I complete as before described.
SIENNA MARBLE.
I use the following colours Raw sienna, burnt sienna, orange chrome, light lemon
chrome, red chrome, a little vermilion, crimson lake, light purple, brown, ivory
black and ultramarine blue.-From the required quantity of mixed cement I take
about which I divide in as many basins as there are colours; I put apart about
another to which I give a whitish tint with a little of ultramarine blue and
light lemon chrome; this tint I use to form the whitish running veins, breaks and
small spots then I tint each part of the cement divided in basins with the aforesaid
colours at first separately and after I mix them a little with each other so as to

page_text: form shades corresponding to those in real marble,-I use these tints at first to
form the small veins of the foreground and afterwards to shade the parts of tinted
cement to form the back-ground. I make more use of the raw sienna than of the
other colours: then I divide the remaining 14 of mixed cement into three parts; the
first part about I shade with the raw sieuna already mixed in one of the small
parts and to shade the part according to the corresponding shade in real marblo
I use a small quantity of all the afore said colours except the ivory black and
ultramarine blue. To shade the second part (about) I use the same colours but
I make it much paler than the first part. To shade the third part (about) I use
also the same colours, but more of the burnt sienna to form a deeper shade. When
all the shades required for the marble are produced I put on the face of the mould
or the smooth surface here and there some pieces of pasteboard to form the sharp
parts of the marble which are surrounded by veins. To form the veins on the
edges of these pieces of cardboard I use the same means described for the Bréche
violette but the shades are in accordance with the shades of the sienna marble
which are of a dark purple colour. To form the other parts of the veins between
the pieces of pasteboard I use nets or skeins soaked in water coloured with light
purple, brown, ultramarine blue, ivory black and a little vermilion: the shade of
this water must be of a dark purple. I use also a few nets or skeins soaked in water
having a reddish shade, on these nets or skeins I form the whitish runs or breaks
and spots, I use for this a fibre or filet of silk, on these nets and skeins I form
the back ground with the tinted cement prepared for that purpose. I take care to
mix the tinted parts of cement a little together to produce the various shades found
in the real marble. Then I remove the nets or skeins and level the background,
then stiffen it a little with some dry superfine cement and remove the pieces of
pasteboard, and on the empty places produced by their removal I form the other
1
1
1
1
I use the following colours. ultramarine blue, light purple, brown, vermilion,
crimson, lake, light lemon chrome red chrome and a little of ivory black.
:
From the required quantity of mixed cement I take about which I divide into
as many parts as there are colours, in separate basins and tint each part with the
above colours then I take another to form the whitish runs or breaks which I
divide into three parts I tint the first part, about with a small quantity of
each of the above tinted parts except the ivory black, but use more of the
ultramarine blue to give a bluish shade. I use about the same tints for the second
part () but I make this part much paler than the first and less bluish. To the
third part about I give a kind of chamois shade. I then take sufficient of the
cement to form the veins and divide it into three parts to which I give three
particular shades. To the first a bright red tint with light purple brown,
vermilion, and a little of crimson lake and red chrome. To the second a deep
brown tint brightened with vermilion for this shade I use light purple, brown,
ivory black, vermilion ultramarine blue, and a little crimson lake. To the third
part I give a bright yellowish tint for which I use the following colours. Red
chrome, orange chrome, vermilion and crimson lake. Besides these three last
tints I form great variety of shades, by mixing the above tints a little with each
other. When all the tints required to produce imitations of this marble are ready
I first use the pieces of pasteboard to form the brêches; before laying these pieces
on the face of the mould or smooth surface, I form the veins on their edges with
parts of the tints prepared for that purpose, then with a net the meshes of which
are formed according to the figures of real marble soaked in the tint prepared for
the veins, I trace the bright veins, afterwards I form the whitish breaks also
with a net or filet soaked in the whitish tint: when the veins are traced according
to those in real marble I lay down the back ground between the pieces of paste-
board To form the back ground I use principally the three first tints, but to form

page_text: e great variety of shapes as in real marble I mix a little of almost all the other
ts with these three, but use then separately when I use one I mix a small
rtion of the two other tints with it to produce those distinct shades lighter or
rker as they appear in real marble. When this back ground between the pieces
pasteboard is done I level it and stiffen it with dry cement. Then I remove
refully the pieces of pasteboard and on the empty places left by their removal I
rm the imitation breches with parts of almost all the tints but I take care to
ry the shades of these in accordance with those of the real marble then I
mplete as before described.
I use the following colours-Light purple brown, burnt sienna, ivory black and
ultramarine blue; and small pieces of reddish, grayish, and whitish alabaster to
produce the crystallized bright parts or spots found in real granite. I divide the
required quantity of mixed cement into the following proportions. The first
part, the second part 1, the third and the fourth I give the first
part a reddish brown tint and to obtain this shade I use a part of all the above
colours; to the second part also a reddish tint but a little paler than the first, and
use more of the burnt sienna. To the third part I give a dark brown tint to
produce which I use more of the ivory black To the fourth part I give a whitish
grey tint when all these tints are prepared I spread on the face of the mould the
small pieces of alabaster just mentioned, and in order to stick these pieces on the
face of the mould or the smooth surface I soak them in a small quantity of each
of the four tints, these small quantities are prepared separately in basins and have
an extra quantity of alum dissolved in them to make this cement set quickly and
crystallize. When these pieces of alabaster are well soaked I pour them out of the
basins on a piece of plate glass and before spreading them on the face of the mould
I mix them a little together, when partially set I throw the remainder of the tints
on rather sharply with one hand and between the fingers of my other hand to
prevent large masses going in one place, until I cover all the surface. Then I level
this coat carefully with a trowel and to absorb the quantity of superfluous water
used to mix the above tints I spread on this tinted cement some superfine dry
cement previously slightly mixed with some of the above colours in a dry stato.
Instead of removing this dry cement as with other marbles I press it in so as to
form a compact mass with the tinted cement which is still in a soft state; then I
complete as before described
I use the following colours.-Raw sienna, burnt sienna, red chrome, ultramarine
blue, ivory drop black, light purple, brown, orange chrome, vermilion, and a small
quantity of crimson lake. With a small quantity of mixed cement I mix some of
the above colours separately then the required quantity of mixed cement I divide
into five parts as follows. The first part about the second about the
third, the fourth, and the fifth. To the first part I give a reddish brown
tint this part I divide into about two equal parts, making one lighter than the
other; the darker of the two must be brightened with a little vermilion, and must
have a slight purple shade. To produce this I use part of almost all the above
colours except the raw sienna and orange chrome. To the second part I give a
yellow reddish tint and I divide this part into two parts almost equal and I make
one lighter than the other. To shade these two parts I use some raw sienna, burnt
sienna, red chrome, orange chrome, a very small quantity of light purple, brown
vermilion and crinson lake. To the third part I give a kind of violet hue with a
slight shade of purple. To shade this part I use some ultramarine blue, light
purple, brown, crimson lake, and a little vermilion and burnt sienna. To the
fourth part I give a whitish tint and divide it into two parts, one part must have

page_text: I use the following colours-Van-dyke brown, ivory drop black, ultramarine blue,
burnt sienna, vermilion, and light purple brown.
:
The
From the required quantity of mixed cement I take about for the light and
other veins and breaks then I divide the remainder of the cement as follows.
first part must be of a light tint for which purpose I use some van-dyke brown,
a very small quantity of ultramarine blue, burnt sienna, and vermilion the second
part about must be darker than the first one to produce which I use more of
vandyke brown; the third part about must be of a deeper shade than the former
parts, to produce which I use more of burnt sienna and vermilion than in the first
two parts. These three tints are to form the back ground for the face of the
imitation marble. Then with the of the mixed cement put aside I do the tints
for the veins as follows. I take and give it a greyish white tint using a small
quantity of blue and black and some of the tints of which the ground coat is made.
To about I give a greyish white tint with a slight blue shade by using rather
more blue: a third part consisting of about I make darker with van dyke brown
and a very small quantity of all the above colours. To a fourth part about I
give a brown tint for which I use black, burnt sienna, and light purple brown.
To the remaining 4 I give a brightest shade using more vermilion and a little
vandyke brown and burnt sienna. When all the tints required are ready I begin
by tracing the breaks with a net similar to the one used for the rouge royal which
I soak in the the two lighest tints. Then with a small fibre of silk soaked in the
last tint I trace the small bright veins. Then with the two darkest tints I trace
the darkest veins; when the veins are traced I lay down the back ground, and to
produce various shades I mix the tints a little with each other; when the surface
is entirely covered I complete as before.
Having now described the nature of my improvements in the process for
producing artificial marbles and in rendering the same waterproof and fireproof,
and how the same is to be performed I would remark that I have given great
study to the true geological formation of real marbles and have very closely
observed the intermingling and mixing of colours and shades in same; and the
various means which I have described in this specification of mixing, blending, and
laying down the various colours produces an imitation of marble the the shades
and blending of colours in the grained coat of which, is geologically, correctly that of
real marbles. I am well acquainted with the fact that many attempts have hitherto
been made to produce imitations of marbles but so far as I am aware the blending
of colours and the attempts to obtain bright spots in such productions have not
been geologically correct; nor have such productions been successful in an
industrial point of view, principally owing to the fact that they will not stand the
heat from an ordinary fireplace without cracking, or damp without becoming soft
and consequently useless as then they lose the glaze and appearance of marble:
these serious defects which have hitherto prevented imitation marble from being
largely used for ornamental and architectural purposes I have successfully overcome
by this invention, as imitations of marbles made as described in this specification
are not effected by either heat or damp and do not lose their hardness or glaze by
exposure. I am also aware that in some of the attempts that have been made to
produce imitations of marbles it has been proposed to trace the veins on the face
of a smooth surface by aid of fibres of silk soaked in coloured water or coloured
mixed cement, and also to use a smooth surface of glass, consequently to neither of
these minor details, do I make any specific claim, but what I do claim as my
invention is
First The production of imitations of various kinds of marbles combined with
the means for rendering the same waterproof and heatproof, substantially as
described.
Second-The combined process of proportioning, blending, and mixing, in cement

page_text: or cements of which a surface coat is formed to imitate marble, the different
colours necessary to produce the colours and shades found in different kinds of
marbles substantially as described.
Third In the production of imitation marbles the use of pieces of alabaster to
form bright spots in same substantially as described.
Fourth-The means as applied to imitation marbles of producing a crystallization
in or on the grained coat or face of same, substantially as described.
Fifth The use of the mixtures for rendering imitations of marbles waterproof,
substantially as described.
Sixth-The use of the mixture for rendering imitations of marbles unliable to
crack from heat, substantially as described.
In witness whereof I the said Richard Guelton have hereunto set my hand
and seal this twenty seventh day of October in the year of our Lord
One thousand eight hundred and eighty two.
RICHARD GUELTON, (L.S.)