Marmoreal: Down the Rabbit Hole

Writing this blog post has been like an Alice adventure. It has led me down the cyberspace rabbit hole yet again. I first questioned the origins of the word marmoreal. Then my poet’s brain took off with marmoreal kind of sounding like memorial, marsupial, arboreal, armoury, marmoset, and marmite. This led to memories of marbling on paper in Turkey, followed by a spate of YouTubing sessions on how to paint to give the illusion of marble on architectural features including the Scagliola plaster technique. Finally I began comparing the cost differences between real marble columns versus wooden ones painted in faux marble. Here’s what I’ve discovered.

The word marmoreal means that something is made up of or looks similar to marble. There are differing opinions about this word’s roots, however let’s go with the Entymonline version*(1). The word marble came into use between the 12th and 14th century, dissimilated from marbra (mid-12th c); from the Latin marmor (marble) or a cognate with the Greek word marmaros meaning ‘marble gleaming stone’. The ‘al’ is an English suffix.

There is printed evidence that marmoreal, a marble derivative, has been in use since 1656*(2). Interestingly, other words that joined the English language in print that same year include: abysmal, anarchic, analyst, linear, spitfire, star-studded, handwrite, and recreational.

After exploring marmoreal as a word, I began thinking about marbly and faux marbly things. My mind jumped to the Turkish art form Ebru, an ancient paper marbling technique. The effect is created when coloured pigments are put into oily water by dropping, sprinkling or brushing then transferring the patterns onto paper.

Ebru technique, Emre Tan's studio, Konya, Turkiye

I had the privilege to learn Ebru from artist Emre Tan in Konya, Turkiye in 2011. I spent a day with Emre in his studio experimenting with pages from a 1950s Encyclopaedia, which produced lovely effects.

Ebru examples, Emre Tan's studio, Konya, Turkiye

When researching painting techniques to imitate marble, the Building Conservation*(3) website proved useful. The authors Francis Stacey and Jane Davies put forward that painting faux marble has been an ongoing activity for millennia with early examples in Pompei. Also, the technique was very popular in the 17th century decorating all sorts of architectural features i.e. columns. Tricking the eye into thinking painted wood was in fact real marble most likely developed when the proper stone was too expensive or moving it proved difficult.

Scagliola is another technique*(4) applied to various materials (i.e. wood) to imitate marble. It is plaster that has gypsum (Scagliola) as its primary ingredient. Part of the secret of its beautiful illusion is the addition of marble bits and dust. Silk strings with pigment are pulled through the wet mixture to achieve the appearance of veining.

With further research I became curious about the different faux marbling painting techniques and decided to do a bit of YouTubing instruction and hands on experimentation. It’s not easy and I deem my first attempts failures, but I’m certain it could be achievable with practice.

Faux marble painting experiment

I then researched the cost of stone columns. I found a nice pair of Italian Marble Columns (97cm x 36cm x 36cm) on the 1st Dibs website*(5) for £20,278.50 which doesn’t include shipping.

Pair of marble columns, Italy, late 19th century

I wondered what the cost would be to have wood columns made with the idea that I would paint them with a marble effect. I contacted Roger Marwood*(6), a woodturner, and requested a quote for creating two columns the same size and similar in style as the Italian marble columns pictured above. He gave me a quote of £1,700 + VAT in tulipwood - total £2,040.00 plus £150.00 for delivery.

If I were then to paint the columns myself, imagine the cost savings! If I had a professional decorator specialising in marbling effects do the painting, the cost savings I believe would still be considerable compared to purchasing real marble columns.

I could go on and on with my research, eat cake and grow big, but I’m done now. I did find it inspirational so here’s my creative contribution - a Villanelle with artistic license.

Marmoreal

Gypsum, marble bits, dust and heart
mixed with glue, coloured silk strings pulled
through plaster - veins - life’s blood is art.

Such trickery! Trompe l’oeil depart
from what is real, that has fooled.
Gypsum, marble bits, dust and heart

not cold as stone, but warm as tart
from oven, taste with eyes and pulled
through plaster - veins - life’s blood is art

that can be painted too, to start
with loving hand and brush, be fooled.
Gypsum, marble bits, dust and heart

applied, spread thin - not cheap Walmart
stuff, but a gold lump of soul pulled
through plaster - veins - life’s blood is art

that may upset the applecart
when found untruths and one’s been fooled.
Gypsum, marble bits, dust and heart
through plaster - veins - life’s blood is art.

So there you go. I’ve briefly taken you down the marmoreal rabbit hole. Such an adventure and just a stone’s throw away to another theme ready and waiting.

Thank you for reading.
Kate
😃

*1 https://www.etymonline.com/word/marmoreal
*2 https://www.merriam-webster.com/time-traveler/1656?src=defrecirc-timetraveler-etycard
*3 https://www.buildingconservation.com/articles/marbling/marbling.htm
*4 https://johncanningco.com/blog/the-art-of-scagliola-plaster/
*5 https://www.1stdibs.com
*6 http://www.marwoodturner.co.uk

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Misty - Play Misty for Me

There’s something mesmerising about watching Ailsa Craig emerging from the mist. The island isn’t moving at all, but the constantly changing cloud gives the illusion of her creeping forwards. Trips to this bit of Scotland always include a visit to Ballentrae and further along, Girvan. I could stay on this stretch of the Ayrshire coast all day, in all weathers. In fog, in misty rain, in low cloud, I’m comforted to know Ailsa Craig is there, exactly where she belongs.  Eventually I’ll witness how she looks in the perfect sunset of a clear day. I don’t mind waiting, fortunately.

Music has always figured in my life. I grew up with the beat of a juke box resonating from the pub downstairs, the radio, or wireless as it used to be when we listened to the Light Programme, and my mum’s records. We would set them up together, six or eight, I can’t remember exactly, but they sat at the top, held in place until it was time to drop on to the turntable. I knew all these 45s. Before I could read I could recognise each record and decide which order we would play them from Billy Fury, Anthony Newley, Cliff Richard and many more. Tommy Steele’s Little White Bull would be put back on for Singing Time on the flip side. A favourite was Misty, Johnny Mathis.

Years pass. My mum passed, too. I have my own place, my own records and with some reluctance, I learnt to play piano in my childhood and in a strange way, an hour or two playing Chopin or Mozart can bring comfort. There’s a film out called ‘Play Misty for Me’ with Clint Eastwood. I loved it and wished my mum could have seen it, for the song and to see how well Rowdy Yates was doing.

Many more years pass. We’re into CDs – not moved into MP3s or whatever – anyway, the radio is always on keeping music in the air. There’s a box of records in the attic. I still have my mum’s 45s. Some are older than me, or pretty close, and Misty will be in there. Cherished.

Look at me
I’m as helpless as a kitten up a tree
And I feel like I’m clinging to a cloud
I can’t understand,
I get misty, just holding your hand.

Walk my way,
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear,
I get misty the moment you’re near.

You can say that you’re leading me on
But it’s just what I want you to do,
Don’t you notice how hopelessly I’m lost
That’s why I’m following you.

On my own,
Would I wander through this wonderland alone
Never knowing my right foot from my left,
My hat from my glove,
I’m too misty, and too much in love.

Lyrics by Johnny Burke
Music by Errol Garner

Thanks for reading, Pam x

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