the originals in color than if they are a staring white. The method adopted must, of course, be carefully studied, for if, in order to color the cast, a thick white coating of paint is put over it, the museum director will find himself much criticised for destroying the shades of modelling in the surface. Admirable results may be obtained in various ways. Perhaps the most effective of these is the Trocadero system which starts with the wax and turpentine solution to which a small amount of prepared oil color is added according to the shade desired.
Marble.—For the lighter whiter marbles of the XVII and XVIII centuries, the least suspicion of van Dyke brown in the mixture is sufficient. For ancient marbles that have mellowed and yellowed with time, use yellow ochre and van Dyke brown. The liquid will have a strong yellow-brown look.
These mixtures should be applied with a medium-sized brush, and a clean, soft cloth or piece of cotton waste should be at hand to wipe off superfluous color. It should be remembered that the color of the cast will be much less intense when it is on the pedestal and on exhibition than when being worked over in the shop. If too much color is applied, it may be in part removed by washing with turpentine.
