,transcriber's ,notes ,text printed in italics has been transcribed between underscores1 bold face text between equal signs4 ,small capitals have been converted to ,,all ,,capitals4 text represents superscript text4 ,more ,transcriber's ,notes may be found at the end of this text4 ,illustration3 ,gold ,medals3 ,paris1 #ahgh and #aijj4 ,,wilkinson ,,heywood ,,clark ,,limited ,,caledonian ,,rd ,,london ,manufacturers of the ,celebrated 8,non,poisonous ,colours0 in rich and delicate neutral tints1 for ,high,class ,decorations4 ,illustration3 ,,don',t ,,spoil ,,your ,,work ,,by ,,using ,,inferior ,,brushes4 8,,page',s0 ,,painting ,,brushes ,have stood ,,the ,,test ,,of ,a ,,century1 and every brush bearing their name is acknowledged to be of the ,,best ,,quality that can be produced4 ,s4 ,d4 ,,page ,,sons1 ,l,,td41 ,,norwich4 ,,illustrated ,,price ,,list ,,post ,,free ,,on ,,application4 ,,colours4 ,,pure4 ,,with #be ,,with #ajj ,,parts ,,zinc4 ,,parts ,,zinc4 ,,turkey ,,umber ,illustration ,illustration ,illustration ,,french ,,ochre ,illustration ,illustration ,illustration ,,raw ,,sienna ,illustration ,illustration ,illustration ,,orange ,,chrome ,illustration ,illustration ,illustration ,,prussian ,,blue ,illustration ,illustration ,illustration ,,medium ,,chrome ,illustration ,illustration ,illustration ,,middle ,,chrome ,,green ,illustration ,illustration ,illustration ,,moss ,,green ,illustration ,illustration ,illustration ,,paint ,,colour ,,mixing ,a ,,practical ,,handbook ,,for ,,painters1 ,,decorators ,,and ,,all ,,who ,,have ,,to ,,mix ,,colours1 ,,containing #gb ,,samples ,,of ,,paint ,,of ,,various ,,colours1 ,,including ,,the ,,principal ,,graining ,,grounds1 ,,and ,,upwards ,,of #djj ,,different ,,colour ,,mixtures1 ,,with ,,hints ,,on ,,colour ,,and ,,paint ,,mixing ,,generally1 ,,testing ,,colours1 ,,recipes ,,for ,,special ,,paints1 ,,etc41 ,,etc41 ,,arthur ,,seymour ,,jennings4 ,london3 ,e4 ,f4 ,n4 ,,spon1 ,,ltd41 #abe1 ,,strand4 ,,new ,,york3 ,,spon ,,chamberlain1 #abc1 ,,liberty ,,street #aijb4 ,,preface4 ,the author would for some reasons be inclined to offer an apology for this work in its present form1 because it falls so far short of what might be expected in a comprehensive treatise on the subject of which it treats4 ,to understand colour mixing the student should first carefully study colour theory1 and then the properties of pigments4 ,but it will be observed that there is but little relating to theory in this work1 and the reasons are given distinctly1 and are1 in brief1 that the subject is too complex a one to render it possible for it to be dealt with in the limited range of these pages1 while another reason is that the subject is very well covered in several books published in late years by ,professor ,,church1 ,,george ,h4 ,,hurst1 ,professor ,,rood1 and others4 ,the author1 however1 has ample justification for the publication of this little work in the fact that he has during the last fifteen years received1 in his capacity as editor of painters' publications1 enquiries almost daily for a book giving colour mixtures1 with actual samples of colours1 in other words1 one which would be useful to the man who wants to mix paints but who has not made a study of the subject4 ,a critic might object that it is impossible to give accurate colour mixtures1 because the actual appearance of colour varies according to the light in which it is viewed1 and also because the result obtained by mixing coloured pigments of different manufacture must vary greatly according to the quality of those colours4 ,all these objections have been carefully borne in mind in the preparation of the contents of this work4 ,it has been assumed that the colour mixtures will be viewed in an average good light1 and it is further assumed that the colours which have been employed will not necessarily be of the very best quality but certainly not those which are very inferior4 ,the chapters on colour testing1 etc41 have been added not only because these properly form a part of the subject1 but because so many painters are deficient in a knowledge of them4 ,it need only be added that every one of the mixtures given in this work has been carefully made with the actual colours4 ,the preparation of the list has been no inconsiderable work4 ,the author therefore leaves his little book in the hands of practical readers in the hope that even if it falls short of being a complete treatise it may1 at least1 prove of some service in everyday work4 ,,contents4 ,,chapter ,i4 ,the ,composition of a ,paint -- ,pigments1 ,oil1 ,turpentine1 ,driers1 ,colours -- ,practical ,paint ,mixing1 ,mechanical ,paint ,mixer -- ,paint ,strainer -- ,the ,proportions of ,materials for use on ,pine and ,soft ,woods -- ,on ,hard ,woods generally -- ,on ,iron -- ,on ,stucco -- ,on ,plaster1 etc4 ,,chapter ,,ii4 ,colours or ,stainers -- ,the appearance in strong and subdued lights -- ,the ,nomenclature of ,colours -- ,examples of variation in the names of ,colours -- ,efforts made to establish a ,uniform ,nomenclature -- ,the ,economy of using ,good ,colours -- ,hues1 ,shades and ,tints4 ,,chapter ,,iii4 ,whites -- ,recipes for various mixtures of ,white ,pigments -- ,the ,advantages and ,disadvantages of ,white ,lead1 ,zinc ,white1 ,lithopone1 etc41 etc4 ,,chapter ,,iv4 ,grays and ,greys -- ,general ,remarks -- ,how to ,mix various ,greys and ,grays4 ,,chapter ,v4 ,reds1 ,crimsons and ,purples -- ,general ,remarks -- ,how to ,mix these ,colours4 ,,chapter ,,vi4 ,blues -- ,general ,remarks -- ,how to ,mix ,blue generally4 ,,chapter ,,vii4 ,yellows -- ,general ,remarks -- ,how to ,mix ,yellows generally4 ,,chapter ,,viii4 ,greens1 how to ,mix them -- ,general ,remarks -- ,suggestions for ,experiments4 ,,chapter ,,ix4 ,browns1 and how to ,mix them -- ,general ,remarks on ,browns4 ,,chapter ,x4 ,graining ,grounds and how to ,mix them4 ,,chapter ,,xi4 ,how to ,test the ,quality of ,colours -- ,the ,characteristics of ,good ,colours -- ,greens1 ,venetian1 ,tuscan and ,indian ,reds -- ,red ,lead -- ,chromes -- ,ochres -- ,blacks -- ,blues -- ,umbers and ,siennas4 ,,chapter ,,xii4 ,recipes1 ,tables1 ,hints and ,notes -- ,list of ,books useful to the ,painter4 ,illustration ,,chapter ,i4 ,,the ,,composition ,,of ,a ,,paint4--,clearly the first thing to be done before studying the subject of paint and colour mixing is to determine what a paint or what a colour is4 ,without attempting to give a hard and fast definition1 it may be said that a paint consists of any pigment1 such as white lead1 mixed with linseed oil1 and thinned by means of turpentine to render it in such a condition that it may be readily applied to the surface of wood1 iron and other work by means of a brush4 ,paint serves the purpose first of preserving the material to which it is applied1 and secondly1 but not always1 a decorative object where the colour is of importance4 ,the principal pigment used in paint mixing is white lead1 but there are many others that are also employed4 ,many painters look upon paint as necessarily consisting of white lead to which has been added sufficient colouring matter to give the desired tint4 ,as a matter of fact1 white lead may be wholly absent from a paint4 ,for example1 yellow ochre may be used by itself2 iron oxide in the shape of ,indian red1 purple brown1 ,venetian red1 or ,tuscan red forms in itself a good paint if the colour is not objectionable4 ,again1 in the lighter paints we sometimes have white lead replaced by an admixture of zinc white1 barytes and other materials of the kind4 ,the oil used in mixing paint is used to combine the particles or pigment together4 ,that is its chief object1 but it is also employed to give a glossy surface and to bring the material to a proper consistency4 ,turpentine could be used for the latter purpose by itself1 but the result would be what is termed a 8flat0 surface1 or an absence of gloss4 ,the turpentine1 too1 evaporates to a considerable extent4 ,it is generally conceded1 among those who have given close attention to the subject1 that the durability of a paint depends largely upon the oil used2 indeed1 it has been likened to the life-blood of the paint4 ,there is not much doubt that the best pigments may be replaced with others somewhat inferior without so much detriment to the quality of the paint as if linseed oil is replaced by some other oil4 ,it is quite necessary that pure linseed oil be used in the manufacture of all paints1 and although there are one or two substitutes on the market which may be employed in very cheap work1 no attempt should be made to execute a really good job unless pure linseed oil is used4 ,the purpose of the oil in giving a gloss is sometimes assisted by the addition of a small quantity of oak varnish4 ,this is a growing custom among painters1 as the gloss produced is decidedly improved by the addition of the varnish and the work shows up well1 while the varnish does not in any way detract from the life of the paint1 but rather adds to it4 ,this practice is employed more on inside than outside work1 where the execution of the painting requires more care than it does inside1 owing to the severe atmospheric conditions1 which cause any paint work not properly prepared to soon decay4 ,the base1 such as white lead1 having been selected1 colours are mixed in order to produce the desired hue or tint4 ,frequently1 however1 a colour is made by the mixture of several other colours without any white lead at all4 ,a careful examination of the list included in this book will make this clear4 ,the colour having been determined1 oil1 turpentine1 and driers are then added4 ,the object of the driers is that of causing the paint material to dry quickly4 ,there are several kinds of driers on the market1 but the two best known are termed 8patent driers10 which is sold in solid form1 and the 8liquid driers0 or 8japanners40 ,whichever is used the actual quantity employed will depend very largely upon the pigment4 ,some pigments1 say for instance1 red lead may be considered in itself a drier1 and the addition of any other is unnecessary4 ,others1 like ,vandyke brown1 dry slowly1 and much more driers will be necessary than is the case with white lead4 ,further on we give some idea of the proportions of materials to be used1 but it will be understood that no exact information on the subject will be possible1 for reasons that will be explained4 ,it is of the utmost importance to remember that an excess of driers is most objectionable4 ,it often retards instead of increasing the drying quality1 it causes cracks and blisters1 and above all1 it proves very destructive to the paint itself4 ,the quality of patent driers varies very greatly1 some of the cheaper grades consisting largely of material which possesses no drying properties whatever4 ,,paint ,,mixing4--,the method of mixing paint does not appear1 strange as it may seem1 to have received the consideration on the part of practical painters that it deserves4 ,while the manner of mixing small quantities of paint is thoroughly practical and sensible1 yet some painters1 even when they have larger quantities of the same paint to mix1 adopt exactly the same means without thinking it necessary to take advantage of special machinery which is made for the purpose4 ,illustration3 ,,fig4 #a4 ,there are on the market two sorts of mixing machine for paints that would prove of great service to the painter who has to produce large quantities of paint4 ,but1 as a rule1 they are only used by paint manufacturers4 ,one known as the vertical mixer1 is represented in ,fig4 #a1 and is suitable for painters' use4 ,it consists of a cylinder which contains the paint1 and in this are three bent knives or scissors4 ,the handle attached1 on being operated1 turns the cylinder in one direction and the knives in the opposite direction1 these knives in the meantime revolving around on their own axes4 ,the paint is thus mixed very quickly1 and as the cylinder may be had to hold several gallons1 in the case of bridge work1 wall work1 or other positions where a very large quantity of the same paint is required1 the purchase1 for a few pounds1 of such a machine may mean a saving of a considerable amount of labour4 ,the mixer illustrated is manufactured by ,messrs4 ,,torrance ,,sons1 of ,bittern1 ,glos4 ,in many shops1 where large quantities of stone colour and other paints have to be turned out1 such a machine would soon repay its cost4 ,for ordinary quantities of paint1 of which white lead forms the base1 the following is the method usually employed4 ,it will be understood that the paint consists of a base such as white lead1 linseed oil1 either raw or boiled1 driers--either patent or liquid--and turpentine4 ,a can or kettle is most usually employed for mixing the white lead in1 and this is first thinned out and mixed with the driers and oil1 the colour being afterwards added to it4 ,a little oil is first placed in the can1 which is twisted around so that the oil covers every part of the inside surface4 ,this prevents the lead sticking against the tin4 ,a sufficient quantity of oil and the patent or other driers is then added4 ,the most convenient implement for actually mixing the paint is a broad piece of wood shaped like a narrow spade1 or a spatula may be employed4 ,the lead is stirred and beaten against the sides of the tin until the whole is of the same consistency1 and more oil is added until the thickness is not sufficient to support the stick standing upright4 ,turpentine may now be added to further thin the mixture1 and then the colour is added4 ,it may be noted here that the result is not so satisfactory if the turpentine is added before the oil4 ,the best way of mixing actual colours is to place them on a stone1 thoroughly amalgamating one with the other by means of a spatula4 ,when the colour is what is required it is added to the white4 ,to take a simple case of a gray1 a little black would be beaten up on the stone1 and when quite thin added to the pot of white4 ,this would then be stirred up thoroughly and the grey colour observed to see whether it was sufficiently dark4 ,then a very little red and blue might be prepared on the stone and this be added to the pot1 the mixture being again stirred4 ,two very important rules must be observed at this point4 ,the first is that the colours ground in oil should be used and not dry colours4 ,if dry colours are employed oil must be added to them on the stone and not in the pot4 ,we may repeat1 by way of emphasis1 under no circumstances must dry colours be added to the pot of colour4 ,this is a rule to which there is absolutely no exception4 ,the second rule1 and one which is equally important1 is to add only a small quantity of colour to the pot of white at the time4 ,taking the case once more of the grey1 a little black being added and the mixture well stirred it can be seen at a glance whether the desired depth of shade is obtained4 ,on the other hand1 it would be quite impossible to take any of the black from the mixture1 and should it be too dark the only way to lighten it would be to add more white1 and this would probably mean mixing much more paint than was required for the job4 ,the paint having been mixed to the exact colour required1 all that now remains is to strain it4 ,a piece of muslin is often used for this purpose1 but a far better method is to use a wire gauze strainer1 which may be purchased for a small sum and will last for a considerable length of time4 ,the advantage of this in addition to its permanence is that the hard portions of the paint may be beaten against the gauze1 and so the waste be reduced to a minimum4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,an excellent shape of paint strainer is that shown in ,fig4 #b1 which is shown in parts in ,fig4 #c4 ,a1 represents the body of the strainer1 ,b1 the clips which hold the compression band ,c1 and ,d1 represents the gauze4 ,the advantage of this construction is that the gauze after use may be easily taken out1 cleaned and replaced4 ,this strainer or its equivalent should form part of the equipment of every paint shop1 large or small4 ,a very handy little tool for breaking up oil paint when mixing in a can instead of using a stick is shown in ,fig4 #d 7see next page74 ,its shape enables it to be used also as a scoop or spoon for lifting the colour out of the kegs1 etc4 ,the patentee and manufacturer is ,h4 ,,smith1 ,hale ,road ,bridge1 ,altrincham1 ,cheshire4 ,the illustration shows both sides of the tool4 ,the projection on the left hand of the carved blade is provided in order to reach beneath the rim of lever-top cans4 ,,the ,,proportions ,,of ,,materials4--,we come to a consideration of the proper proportions of materials1 viz41 white lead 7or other white71 oil1 turpentine and driers--the colour we shall speak about shortly--to be used on various kinds of work4 ,illustration3 ,,fig4 #d4 ,a little consideration will make it quite clear that it is impossible to give exact proportions of materials that will suit every job4 ,these proportions are determined by the condition of the work4 ,a new door of good sound pine will be treated differently to one made of an inferior wood1 which is knotty and somewhat sappy4 ,again1 a door that has been exposed to the weather for some years1 and from which the paint has1 perhaps1 almost wholly departed1 will require a different mixture to a front door from which the accumulation of old paint1 extending1 perhaps1 to over one hundred years1 has been burnt off4 ,precisely in the same way as patent medicines cannot be safely used for any and every complaint1 so it is impossible to have paints that will suit any and every purpose4 ,in one case the doctor is consulted and he takes into consideration every symptom and every condition and acts upon his diagnosis or scrutiny of symptoms4 ,in like manner the decorator takes note of every condition of his work1 and prepares his paint accordingly4 ,again1 iron would not be painted with the same mixture as wood4 ,still if we cannot give exact proportions1 we can1 at least1 give some information on the subject1 which will form a guide and give some data for the reader to work upon4 ,these we will give under separate heads4 ,,priming ,,for ,,iron4--,the usual plan is to use red lead mixed with linseed oil1 the proportion required being about #adlbs4 of linseed oil to every cwt4 of lead4 ,the second coat should be equal proportions of red and white lead mixed to a proper consistency with linseed oil4 ,sometimes oxide of iron paint is used instead of red lead4 ,,painting ,,on ,,stucco4--,the priming must contain a considerable quantity of oil1 because of the absorbent nature of the stucco1 and it should have a big proportion also of turpentine4 ,four galls4 of boiled oil to a cwt4 of red lead and three quarts of turpentine will usually answer4 ,the second coat should be an equal mixture of red and white lead with a smaller proportion of turpentine and oil4 ,,priming ,,for ,,deal ,,or ,,pine 7,,inside74--,with white lead use three-quarter ounces of driers and the same quantity of red lead to every pound of lead4 ,thin with about the same proportion of turps and raw linseed oil4 ,,second ,,coat 7,,inside74--,use about half-an-ounce of driers and one ounce of red lead to every pound of white lead4 ,,second ,,coat 7,,outside74--,use about one ounce of patent driers to every pound of white lead1 with the addition of about the same quantity of red lead4 ,,egg ,,shell ,,gloss4--,to every pound of white lead add quarter of an ounce of copal varnish and the same quantity of gold size with half the quantity of boiled oil4 ,these will serve the purpose of binding the materials together and causing them to dry4 ,the thinners should consist of turpentine used in the proportion of about three-quarters of a pint to every #g lbs4 of white lead4 ,illustration ,,chapter ,,ii4 ,,colours ,,or ,,stainers4--,we have thus far omitted to take into consideration the colours--or stainers1 as most painters call them--that have to be used in the mixtures given in the last chapter1 excepting1 of course1 when a white paint is required4 ,as a rule1 one or several colours are added to the base producing a tint1 shade1 or hue1 as may be required4 ,sometimes1 but not often1 colours are employed as 8body colours10 that is1 they are employed just as they are purchased1 ground in oil1 excepting that they are thinned down with the requisite quantity of oil and turpentine4 ,we may now give consideration to actual colour mixture1 but must first make one or two points clear1 so that the lists which follow may be properly understood4 ,first1 then1 it should be said that colours vary in appearance according to the light in which they are viewed4 ,for example1 a colour1 when looked at in the light of a sunny day in the open1 has a very different appearance to that when viewed in a dark room4 ,this will be explained at greater length further on4 ,the mixtures here given refer only to oil colours1 and it must be clearly understood that the same results will not be obtained with artists' water colours4 ,in the case of the latter1 tints are obtained by the addition of water just as they are produced in oil colours by the addition of white lead or other white pigment4 ,in examining the lists which follow the reader may ask why we do not give the actual proportions of the different parts4 ,the answer is that this is impossible for two reasons1 the first being that colours vary so largely in quality that the proportions would be useless unless some particular make of colours was taken as a standard1 while the second is that the names of the same colour vary also largely4 ,let us consider this point at once4 ,,the ,,nomenclature ,,of ,,colours4--,if half a dozen practical painters1 experienced in colour mixing1 were asked separately to mix a given colour1 say a sea green1 it is almost certain that when the six colours were compared there would not be two alike4 ,each of the six painters might have had precisely the same make of colours to work with and yet the 8sea green0 would in each case be different4 ,the explanation1 of course1 is that opinions differ as to what is a 8sea green40 ,in giving the samples of colour which are contained in this work the author was1 under the circumstances1 somewhat puzzled to know exactly the right names to give each4 ,his idea as to what was a bronze green1 for example1 might differ materially from the opinion of others1 indeed1 as it has already been explained1 no two practical men would probably be found to agree as to the exact colour of two or three dozen differently named colours4 ,under these circumstances1 he hit upon the plan of following what appeared to be the general rule in the trade4 ,with this object he obtained the colour cards issued by all the leading paint manufacturing firms in the country1 as well as some from abroad4 ,he then took out the colours which he thought would be most useful to his readers1 and then very carefully1 and with a considerable amount of labour1 compared each colour with similar colours in the different colour cards1 taking note of the different names which different manufacturers called them4 ,the result was very surprising1 because it was found that in many cases there were as many names as there were manufacturers' cards represented4 ,when1 however1 the same name was used by several manufacturers1 that name was selected for the purpose of this work4 ,the reader may1 therefore1 take it that the names employed here are those which are most general in the trade4 ,as an instance of the variation in these names we may cite a few examples4 ,bronze green was called by different manufacturers' dark green1 olive green1 and sage green4 ,in this case bronze green occurred more frequently than any other name4 ,tea green was called also olive green and ,queen ,anne green4 ,apple green was called very light sea green and ,eau de ,nil green4 ,sage green was called also olive and pale ,quaker green4 ,venetian green was called also ,imperial ,french green1 light green1 shamrock green1 bright green1 mountain green1 middle green1 and engine green4 ,light chocolate was called dark maroon1 red lake1 metallic brown1 and in one case the sample given of burnt sienna was almost identical4 ,olive green was called also sage green1 deep olive green1 and ,quaker green4 ,dark green was called also medium green1 ,brunswick green1 middle green1 and deep coach green4 ,moss green some manufacturers evidently thought was the same thing as bronze green4 ,pea green was called also sea green and eau de ,nil4 ,ivy green was called bronze green1 sage green1 ,quaker green1 olive green4 ,slate was called also ,quaker blue and dark lead4 ,pearl gray was called also light gray4 ,lilac was called also ,french gray4 ,warm gray was called also deep stone1 ,french gray1 and light stone4 ,silver gray was called also lavender4 ,steel gray was called ,french gray in several instances1 but we prefer to use the other term1 as it appears to be nearer to what is usually known in this country as a ,french gray1 that is one which has a touch of red and blue in it4 ,another instance of the variation in the names of these colours is shown by light stone1 which one would think was sufficiently well known to remove any doubt about it1 but this was called smoke gray1 ,french gray1 and dove4 ,middle stone was called also light drab4 ,dark oak was called also dark drab and yellow bronze green4 ,light drab was called also middle drab and doe colour4 ,sandstone was called also dark stone4 ,dove colour was called also deep stone4 ,stone colour was called also ecru and light stone4 ,colonial yellow was called also straw1 light stone1 and deep ,naples yellow4 ,buff in one case was called yellow ochre4 ,illustration ,illustration ,,medium ,,oak ,,deep ,,cream ,illustration ,illustration ,,light ,,oak ,,and ,,birch ,,rose ,illustration ,illustration ,,dark ,,oak ,,signal ,,red ,illustration ,illustration ,,pollard ,,oak ,,dark ,,sage ,illustration ,illustration ,,pitch ,,pine ,,sap ,,green ,illustration ,illustration ,,rosewood ,,and ,,mahogany ,,light ,,blue ,illustration ,illustration ,,light ,,mahogany ,,amber ,,brown ,illustration ,illustration ,,walnut ,,sky ,,blue ,,graining ,,grounds ,cream was called ,manilla1 light stone and deep deck4 ,primrose yellow was called also mustard yellow1 canary and straw colour4 ,straw was called also ,naples yellow and deep ,naples yellow4 ,deep cream was called also cream and lemon4 ,fawn brown was called light drab and light lava4 ,smoke colour was called rustic drab and drab4 ,deep drab was called also dark stone1 light drab1 dark drab and fawn2 one sample of raw ,turkey umber was almost identical4 ,dark drab was given also as dark lava and middle drab4 ,dark oak was called also copper brown1 light oak1 and ,imperial brown1 whilst in one case a sample of dark ochre was almost identical4 ,snuff brown was called also light brown1 sepia1 dark ochre1 umber brown and ,arabian brown4 ,sienna brown was called also teak brown1 coffee brown1 deep ,indian red and terra cotta4 ,amber brown was called also bison brown1 sepia1 and dark oak4 ,autumn leaf was called also leather lake1 mast colour1 middle oak1 old gold1 and light fawn4 ,signal red was called also vermilion1 geranium red and poppy red4 ,moss gray was called also silver gray4 ,acorn brown was called also umber1 dark oak1 dark brown1 light brown1 dark ,indian brown1 chestnut brown1 middle chocolate and ,portland brown4 ,with the above instances before him the reader will not1 we think1 take any exception to the names we have chosen for our sample colour4 ,the same is true concerning the instructions for colour admixture4 ,if a reader makes a mixture according to those instructions and finds the result disappointing1 the reason will probably be that his conception of the particular colour differs from that of the author4 ,and it should be mentioned again1 here1 that every one of the mixtures have been made in oil colours1 checked and checked again4 ,for many years past efforts have been made by scientists and others to formulate a permanent nomenclature for colours1 tints1 shades1 and hues1 but it cannot be said that so far any success has been met with4 ,should the efforts made prove ultimately successful1 there is no doubt it would be a great boon to decorators1 painters1 and others2 for example1 if a decorator wanted to order from his manufacturer a certain tint of colour1 all he would have to do would be to send in the name4 ,,prang1 of ,boston1 in his work1 8,the ,standard of ,colour10 endeavoured to systematise the subject1 and he did this in the following manner4 ,he produced sheets of colour divided up into several thousand squares4 ,on the first sheet at the top was the spectrum of pure colours divided up1 and beneath this similar squares with similar colours1 to which had been added a small portion of white4 ,the line below this was the same again with more white added1 and so on till the bottom of the sheet was reached1 when the colours were greatly reduced by the while1 the tints being naturally very light ones4 ,the second sheet was exactly the same as the first1 but a small portion of black had been added to all of the colours and tints4 ,the third sheet was the same thing again1 with more black added1 and the fourth sheet more black still1 and so on to the end of the work4 ,the colours were distinguished with letters1 and the lines indicated the amount of white added by numbers4 ,to anyone who possessed a copy of the work it would be a comparatively easy matter to order any colour from the book by number and letter1 but the reader will readily perceive that this work falls short of the requirements of practical decorators1 inasmuch as it does not provide for the admixture of different colours1 but only those which are in the spectrum4 ,it is true enough that all colours are as a matter of fact included in the spectrum1 but it is not so easy a matter to separate them for practical purposes4 ,,the ,,economy ,,of ,,using ,,good ,,colours4--,it may be taken as a safe rule for the painter to follow that where a good job is required the best materials only should be employed1 but the reader may answer to this that the price paid to him for his work will frequently not permit of his doing this4 ,we may then leave the subject an open one which has really no place in these pages1 except in so far as it relates to tinting colours1 and here we can definitely and positively assert that it pays the painter best to use the best qualities of colour1 quite irrespective of whether he gets a high price or a low price for his work4 ,we must now proceed to explain this4 ,let the reader assume that a large surface is to be painted a very light ,prussian blue4 ,the price for the work is fixed and the question to be determined is whether it will pay to use cheap ,prussian blue or one of high quality4 ,assume that a high quality blue costs #bs4 per pound1 and that just one pound of it is sufficient to tint the whole white to the required shade4 ,we are purposely giving a simple case so as to make the matter clear4 ,now a ,prussian blue can be bought for1 say1 #as4 #c;d4 a pound1 but it would probably consist of at least one half of barytes or some other adulterant1 which is of no value whatever as a tinter4 ,if this colour is half strength it is obvious that two pounds of it would be required to tint the white for the work in hand1 and this would cost #bs4 #f;d41 against #bs4 for the better class colour4 ,this homely example should be taken to heart by every painter4 ,he has only to experiment to find out that it never pays to use inferior tinting colours4 ,of course there is another reason why the best quality should be used1 and that is1 the appearance of the inferior colours is always muddy and unsatisfactory4 ,,hue1 ,,tint ,,and ,,shade4--,there is a good deal of confusion among some painters as to the meaning of the word 8hue10 8tint10 and 8shade10 although there is no reason why any confusion should exist4 ,the word 8hue0 is employed to mean practically the same thing as a 8colour40 ,it may consist of any mixture of other colours1 or may be a pure colour itself4 ,now when white is added to any hue or colour a tint of that colour is produced4 ,if black is added a shade of that colour is produced4 ,in the decoration of our rooms we shall see that as an actual fact we obtain shades of the colour by the omission of light1 because the addition of black as a pigment to a colour acts in the same way as shutting off light4 ,in mixing colours it is important to remember that black should not be used to lower the tone of a colour excepting in rare instances4 ,it only has the effect of producing a muddy appearance4 ,a yellow that is too bright can be reduced1 or made less staring1 a painter might say1 by adding a little blue and red4 ,if a blue is too bright a little red and yellow should be added2 or if a red is too bright it may be toned down by the addition of a very little blue and yellow4 ,this is a most useful rule to observe1 and as long as the quantity of the colours added is not too great the results will please4 ,,chapter ,,iii4 ,,whites4 ,it may be observed that in the colour mixtures which follow in no case has any white other than white lead and zinc white been used4 ,in actual practice many manufacturers add barytes or some other cheap white to both colours and paints in order to lessen the cost4 ,it is not thought necessary1 however1 to add these materials in the recipes1 it being understood that their use can be proceeded with if necessary4 ,we give a few mixtures for whites which will probably be found useful4 ,there are no particular names applied to the following mixtures4 ,one part of barytes to six parts of white lead ground in oil makes a good white for outside use4 ,a permanent white which is not affected by gases1 sulphuretted hydrogen1 etc41 is made by mixing two parts of oxide of zinc with one part of barytes4 ,a warm white is made by mixing a small quantity of oxide of ochre1 say one part to one hundred of white lead4 ,sometimes a little ivory black1 say one part to three hundred1 is added to the white4 ,white lead being sometimes a little 8off0 in colour1 that is a little yellow in its cast1 some blue is added to counteract this imperfection4 ,most of the corroders1 however1 exclude all the lead which is of a yellow cast and sell it to glass manufacturers1 for whose purpose it is just as good as pure white4 ,a very little ultramarine green added to white lead makes a white sometimes called ,japan white4 ,equal parts of white lead and oxide of zinc are frequently used as a white paint1 although two parts of lead to one of zinc gives a better mixture4 ,some painters are under the impression that inasmuch as lead and zinc are both derived from metals they will not mix together to form a good paint1 there being something of the nature of a galvanic action set up between the two metals4 ,this1 however1 is an error1 for although lead and zinc cannot properly be mixed together by hand yet if they are ground by the ordinary paint manufacturers' machinery the result is a most durable paint which will last many years2 indeed1 the writer has found this paint1 with proper thinners1 one of the best possible mixtures which can be used to resist the destructive action set up by alternate wet and dry days4 ,white lead is1 of course1 the staple white and the most important of all painters' materials4 ,various new processes in white lead are in more or less successful operation4 ,the old ,dutch process1 however1 must be said to give the greatest satisfaction1 generally speaking4 ,,commercial ,,white4--,seventeen parts of white lead1 three parts of barytes4 ,this is intended to be mixed in oil1 not water4 ,,permanent ,,white4--,the best quality barytes or blanc fixe makes a permanent white when ground in water4 ,in oil it lacks body4 ,for many purposes a white which will last a considerable length of time is made by mixing two parts of zinc white with one part of barytes4 ,,various ,,whites ,,compared4--,space will not permit of the advantages and disadvantages of the various whites being treated here at length1 but the reader can obtain reliable information on the subject from the books of ,,hurst1 ,,pearce and others1 as given elsewhere in this book4 ,briefly1 white lead is valuable because it possesses better 8body0--i4e41 the property of covering or hiding the surface to which it is applied--than any other pigment4 ,its poisonous character is against it1 as is also the fact that it is affected by certain gases4 ,zinc is an excellent pigment2 it is whiter than white lead1 but is somewhat deficient in body4 ,lithopone and ,charlton white are both excellent substitutes for lead1 and are non-poisonous4 ,illustration ,,chapter ,,iv4 ,,grays ,,and ,,greys4 ,although the dictionaries usually do not distinguish between the spelling of 8grey0 and 8gray10 and although many decorators use the two words indiscriminately1 there is a distinct difference which it is both convenient and advisable to recognise4 ,a 8grey0 is an admixture of black and white1 and may vary from the smallest quantity of black added to white to the other extreme1 where there is almost as much black as white4 ,anything between the two would be termed a 8grey40 ,examples of this are found in the list which follows under the heads mentioned below3 ,dark lead1 dark slate1 lead1 etc4 ,when a colour is added to the black and white the admixture is called a 8gray10 provided1 of course1 that the black and white predominate1 for example1 a ,french gray is made by tinting white with a little ivory or drop black and adding a little carmine or crimson lake or ultramarine4 ,what may be produced in other ways is noted below4 ,it will be seen that the addition of the lake in ultramarine gives it a peculiar warmth which distinguishes ,french gray1 and changes the spelling from 8grey0 to 8gray40 ,gray drabs are those in which a grey is coloured up to produce a yellowish tinge4 ,black being usually a strong tinting colour1 care must be taken that it is used in moderation1 and here the importance of adding a small quantity at the time1 as already observed1 will impress itself on the operator4 ,after the shade desired has been obtained the colour should be added until the desired warmth is arrived at4 ,,argent4--,a reddish gray tint1 which can be produced by mixing together nine parts of black1 sixteen of white1 one of red and just a little orange4 ,,ash ,,gray4--,lamp black and a little ,french ochre added to white lead give this colour4 ,another mixture is as follows3 two parts of burnt sienna1 three parts of light ultramarine blue1 sixty parts of zinc white4 ,,black ,,slate4--,mix together black and ,prussian blue in the proportion of about thirteen parts of the former to one of the latter and add a little white4 ,,dark ,,gray4--,there is no exact point where this colour is produced by an admixture of black and white and a little orange or red4 ,mix eight parts of black1 one of white and a touch of red to produce this shade4 ,,dark ,,lead4--,this is a dark grey1 being produced simply by adding lamp black to white lead4 ,,dark ,,slate4--,this is simply mineral or other black added to white4 ,the admixture under 8,black ,slate0 would answer4 ,,deep ,,lead4--,black1 a little bright blue1 and ,indian red mixed with white lead produces this colour4 ,,french ,,gray4--,this can be made by tinting white with a little ivory or drop black and adding a little carmine or crimson lake and ultramarine4 ,this produces a very slight violet tinge4 ,white tinted with a little ultramarine and ,venetian red also gives a good ,french gray4 ,celestial blue or cobalt may be used instead of the ultramarine if desired4 ,,granite4--,french ochre and lamp black added to white lead produce this colour4 ,,graystone4--,mix five parts of black with three of white and three of blue and add a little red4 ,,gray ,,drab4--,mix five parts of black with four of white and a little deep chrome yellow4 ,,green ,,slate4--,same as lead1 but with more black and blue4 ,,iron ,,gray4--,mix eight parts of black with two of white and a little orange4 ,,jasper4--,this may be described as 8a pepper and salt shade40 ,mix nine parts of black with two of white1 with a touch of deep chrome4 ,,lead4--,this is simply a dark gray1 and is made by adding lamp black to white lead with sufficient blue4 ,,light ,,grey4--,mix together one part of ultramarine blue1 one part of lamp black1 ten parts of white lead4 ,by adding more or less white lead a darker or a lighter shade may be obtained if required4 ,another shade is obtained by mixing seven parts of black1 four and one-eighth parts of white1 and eight parts of blue4 ,,mastic4--,this is a dark gray shade4 ,to produce it mix twelve parts of black with one of white1 rather less than one of yellow and just a touch of orange4 ,,moss ,,gray4--,tint white lead with ,french ochre1 a bright green and a little lamp black4 ,,mouse ,,colour4--,eleven parts burnt umber1 to which has been added one part of ,prussian blue1 mixed with about twenty times the bulk of white lead1 will give this tint4 ,another shade may be had by mixing sixteen parts of white1 three of black and one of blue4 ,some painters tint white with lamp black and add a very little ,venetian red and burnt umber4 ,,neutral ,,tint4--,an artist's colour is sold under this name4 ,,olive ,,gray4--,three parts of lamp black1 one part chrome green1 with about forty times the quantity of white lead1 will give this colour4 ,,opal ,,gray4--,one part of burnt sienna1 two parts of cobalt blue1 and thirty parts of zinc white4 ,,payne',s ,,gray4--,is an artist's colour1 which may be described as a gray having a lilac tinge4 ,,pearl4--,this is the same as ,french grey1 but is much lighter4 ,,pearl ,,gray4--,forty parts white lead1 five parts of vermilion and one part of deep chrome green4 ,some decorators tint white lead with lamp black and call that pearl gray4 ,strictly speaking1 however1 it should be called pearl grey1 there being no colour present4 ,six parts of white lead1 two parts of ,venetian red1 and one part of lamp black gives a somewhat dark pearl gray1 but a lighter tint may easily be obtained by adding more lead4 ,ivory black answers equally as well as lamp black4 ,,quaker ,,drab4--,this greenish gray shade is produced by mixing two parts each of yellow and green and five parts of white4 ,,rustic ,,drab4--,tint white lead with ,french ochre and lamp black4 ,,silver ,,gray4--,tint white lead with ,french ochre and lamp black1 or yellow may be employed instead of the ochre if preferred4 ,white lead tinted with a little lamp black and indigo gives an excellent silver gray4 ,,slate4--,see 8,dark ,slate40 ,,smoke ,,gray4--,tint white lead with ,french ochre and lamp black4 ,,steel ,,gray4--,tint white lead with a mixture of lemon chrome and medium chrome and lamp black4 ,,stone ,,gray4--,add black and chrome to white lead4 ,,verdant ,,grey4--,two parts of oxide zinc and one part of terra verte4 ,,warm ,,gray4--,tint white lead with ,french ochre and lamp black or sienna and lamp black4 ,illustration ,,chapter ,v4 ,,reds4 ,the reds vary from something just removed from brown up to the bright crimson and madders4 ,a red that is too bright may be lowered by an admixture of blue and yellow4 ,exceedingly bright and pleasing tints of red may be obtained by using vermilionettes1 but as a rule these are not permanent4 ,for inside use1 however1 they may be employed1 especially when they are protected by a coat of varnish4 ,,acacia4--,this may be described as a dark maroon4 ,it is made by mixing five parts of black1 three of ,indian red and one of ,prussian blue4 ,less of the black will give a more pleasing shade4 ,,amaranthine4--,this is a crimson which can be made by mixing three parts of vermilionette with one of ,prussian blue4 ,,anemone4--,this is a reddish purple1 and may be made by mixing two parts of black1 one of white1 six of a bright red1 and six of ,prussian blue4 ,,apricot4--,mix middle chrome yellow with a little vermilion and add a very little lake4 ,,armenian ,,red4--,mix one part of yellow ochre with two parts of ,venetian red4 ,,aurore4--,a dull pink shade1 which can be produced as follows3 ,mix together one part of ,indian red1 two of orange chrome1 a little lemon chrome1 and two of blue1 lightening up with white4 ,,bay4--,mix together five parts of black1 three of ,venetian red1 and a little orange chrome4 ,,begonia4--,a dark red purple1 which may be obtained by mixing sixteen parts of lamp black1 five of bright red1 and four of blue4 ,,black ,,maroon4--,take eight parts of black and mix them with one of a bright red and a little blue4 ,,blood ,,red4--,any bright red toned down with a little black will produce a shade sometimes called by this name4 ,,bordeaux ,,red4--,take nine parts of black and with it two parts of orange chrome and one of ,prussian blue4 ,,brick4--,use two parts of ,french ochre to one part of ,venetian red and one part of white lead1 adding more ochre if required to lighten the colour4 ,this gives a good tint1 sometimes called 8brick red10 and is suitable for outside work4 ,,bright ,,scarlet4--,mix twenty parts of vermilion1 seven parts of pale chrome1 and one part of golden ochre4 ,a vermilionette slightly toned down with yellow answers the same purpose4 ,,bronze ,,red4--,this is a red toned down with about a fourth part of black1 a little bright yellow or orange being added4 ,,cambridge ,,red4--,vermilion1 to which is added about one twentieth part of ,prussian blue1 gives a colour sometimes called 8,cambridge red40 ,,carmine4--,this is an artist's colour4 ,its rich red tint can hardly be imitated4 ,a light vermilionette of good grade1 to which is added a little bright yellow1 may be used4 ,,carmoisin4--,this is a speciality of ,messrs4 ,,mander ,,bros4 ,it is a rich and beautiful colour of vermilionette character1 and when used for finishing coats should be protected with varnish4 ,it is not suitable for distemper4 ,,carminette4--,this is a colour manufactured under this name which is registered by ,messrs4 ,,mander ,,bros4 ,it is a bright strong red1 which is useful when protected with two coats of varnish4 ,it is of no use1 however1 for tinting purposes4 ,,carnation ,,red4--,three parts of carmine lake and one part of white lead give a carnation colour1 but a better result is obtained by taking pure vermilion as a base and adding carmine and zinc white until the desired rich colour is obtained4 ,this colour is not suitable for use outside4 ,,cherry ,,red4--,mix together crimson lake1 burnt sienna and azure blue1 or two parts of vermilion and one part of carmine4 ,,claret4--,mix two parts of carmine with one of ultramarine blue4 ,a little vermilion may be added if desired1 and this may render a little yellow necessary to tone down the colour4 ,a less rich colour may be made by mixing ,venetian red and yellow ochre4 ,,coral ,,pink4--,this colour is useful only on inside work4 ,it is made by mixing five parts of vermilion1 two parts of white lead and one part of chrome yellow4 ,another recipe for producing shades of coral pink is3 one part of white1 three of red1 five of orange1 and three of blue4 ,,dregs ,,of ,,wine4--,this shade is produced by mixing ,venetian red with a little lamp black and white lead4 ,,egyptian4--,a dull yellowish crimson made by using five parts of black1 one and half of white1 two of orange1 and one of blue1 and a very little red4 ,,firefly4--,a dull orange red produced by mixing two parts of black1 three of red1 one of orange1 and a little yellow4 ,,flesh ,,colour4--,one hundred and twenty parts white lead1 two parts yellow ochre1 and one part ,venetian red will produce an excellent flesh-colour4 ,or mix eight parts of white lead1 two parts of orange chrome yellow1 and one part of light ,venetian red4 ,an increased proportion of red may be employed where desired4 ,a mixture of orange and white in the proportion of one part of the former to three parts of the latter may also be used1 or a mixture of medium chrome yellow1 ochre1 and ,venetian red added to white4 ,,french ,,red4--,use equal parts of ,indian red and vermilion1 and glaze with carmine4 ,,gazelle4--,to obtain this mix ,venetian red1 lamp black and ,indian red1 and add sufficient white lead to produce the desired shade4 ,,geranium4--,to produce this colour use nine parts of bright red and one of blue4 ,or ,indian red may be used1 afterwards glazing with madder lake for good work4 ,most of the larger colour manufacturers make geranium red1 which is better than one can obtain by mixing4 ,,indian ,,pink4--,tint white lead with a little ,indian red4 ,,indian ,,red4--,this is a good permanent pigment to be bought ready made1 and is most useful in mixing with other colours4 ,,light ,,pink4--,tint white lead with a little pure vermilion4 ,,light ,,salmon4--,tint white lead with raw ,italian sienna1 burnt ,italian sienna1 and burnt ,turkey umber4 ,or tint white with any bright red1 toning down with sienna4 ,,lilac4--,a great deal of difference of opinion exists as to this tint4 ,one part of ultramarine to one part of bright carmine1 added to eighty parts white lead1 give a very good lilac4 ,a cheaper way is to use ,indian red and lamp black as a tinting colour1 or rose pink may be added to the lead only4 ,yet another method for producing a lilac is to mix three parts of bright ,indian red1 three parts of white lead1 and one part of ultramarine blue1 but less white lead is preferred by some painters4 ,a touch of yellow will help this colour if too raw for the purpose4 ,,madder ,,lake4--,this is principally used by artists1 but it is useful to the house decorator for glazing the best work where a bright red is required4 ,,magenta4--,carmine and vermilion1 with a little ultramarine blue1 produce this colour4 ,,maroon4--,this colour is obtained by mixing carmine and blue black1 and adding a small quantity of medium chrome yellow4 ,it may also be made by mixing one part of ultramarine blue with three parts of ,tuscan red4 ,this gives a tint that is often considered a little too red1 but this defect may easily be remedied by adding more blue4 ,some painters add ivory black and a little chrome yellow to carmine4 ,,mexican ,,red4--,mix one part of red lead with four parts of ,venetian red4 ,,mikado4--,three parts of blue and seven of red1 mixed with a little white1 give this purplish red shade4 ,,moorish ,,red4--,mix together three parts of vermilion and one part of rose pink4 ,,mulberry4--,this is a very dark purple obtained by adding a little blue and just a tinge of red to black4 ,,old ,,rose4--,tint white lead with ,french ochre1 ,indian red1 and lamp black1 or ,venetian red and lamp black may be used if desired4 ,,opaque ,,pink4--,tint white lead with red lead4 ,,opera ,,pink4--,tint white lead with a mixture of five parts of vermilion and one part of medium chrome green4 ,,oriental ,,red4--,mix one part of red lead with two parts of ,indian red4 ,,orange ,,scarlet4--,this colour may be obtained by adding two parts of orange lead to one part of white lead4 ,,orange ,,vermilion4--,orange lead comes nearest to this colour4 ,the tone may be made by adding chrome to vermilion4 ,,peach ,,bloom4--,this is a mixture of white lead and ,venetian red4 ,or it may be produced by adding sufficient ,indian red to white lead to give a warm tint and mixing it with equal proportions of white lead1 lemon chrome yellow1 ultramarine blue and light ,indian red4 ,or a mixture of three parts of ,indian red with seventeen parts of white is sometimes used4 ,,pink4--,white lead tinted with orange lead gives a bright pink4 ,,plum4--,mix with equal parts of white lead1 ,indian red and ultramarine blue in the proportion of two parts of lead to one of each of other colours4 ,this makes a dark plum that is only suitable for inside work4 ,if a light tint is desired add more white lead4 ,a very rich plum may be obtained by mixing together ultramarine blue and carmine1 and adding a little white and a little yellow4 ,,pompeian ,,red4--,small quantities of red and orange are mixed with black to produce this shade4 ,,poppy4 ,blue and vermilion mixed in the proportion of one of the former to twenty-four of the latter give this shade4 ,,purple4--,light ,indian red1 four parts2 white lead1 three parts2 ultramarine blue1 two parts2 or a purple may be obtained by mixing ,indian red and white4 ,a mixture preferred by some painters is made by mixing ultramarine and vermilion with a little white4 ,a little crimson lake gives richness to the colour4 ,,red ,,ochre4--,this earth colour is cheap1 and can be readily bought in most places4 ,it can be imitated by mixing ,india red and chrome and adding a little vermilion4 ,,red ,,terra-,,cotta4--,use equal proportions of burnt sienna and white lead4 ,the tone may be varied by the addition of either of the umbers and the chromes4 ,a good bright terra-cotta is also made by using ,venetian red as a base and colouring up with ochre and a touch of lake4 ,,regal ,,purple4--,mix together four parts of white lead1 two parts of cobalt blue and one part of carmine lake4 ,,roan4--,mix black with half its quantity of red and add a very small proportion of blue and white4 ,,rose4--,five parts of white lead mixed with two parts of carmine give a rose colour that is suitable for inside work only4 ,an admirable rose colour may be obtained by using zinc white instead of white lead1 as the zinc is a much purer white than the lead1 and hence gives a purer tint4 ,,rose ,,carnation4--,mix together one part of rose madder and eight parts of oxide of zinc4 ,this is a beautiful colour1 but the madder is too expensive for use except by artists4 ,,rose ,,wood4--,to produce this colour1 red is mixed with about twelve times the quantity of black and a very little green4 ,the shade given is a very dark red4 ,,royal ,,pink4--,mix together two parts of zinc white and carmine lake4 ,this will only do for inside work4 ,,royal ,,purple4--,mix one part of vegetable black1 one and half of rich red1 and seven of ,prussian blue4 ,some manufacturers make this colour ready for use4 ,,salmon4--,six parts of white lead1 one part of vermilion1 and a little lemon chrome yellow4 ,this mixture produces a colour somewhat bright4 ,another salmon colour is made by a mixture of raw sienna1 burnt sienna1 and burnt umber4 ,a tint preferred by some is produced by adding to the white1 ,venetian red1 burnt umber and ,french ochre4 ,another method is to add vermilion and golden ochre to white1 which gives a nice bright colour4 ,venetian red and chrome1 added to white1 gives a duller colour4 ,still another mixture is ,venetian red1 vermilion1 yellow ochre and white4 ,,scarlet ,,lake4--,this colour can be purchased ready made4 ,a colour very similar may be obtained in one of the many vermilionettes on the market4 ,it will be convenient to remember that all vermilions are lightened by the use of pale chrome instead of white lead4 ,lead takes down the brilliancy of the colour1 producing a pink4 ,,scarlet ,,red4--,this is bought ready made4 ,it is the name given to the brightest of the oxide paints4 ,,shell ,,pink4--,this colour is sometimes made by adding a little good ,indian red to white1 but some decorators prefer to use vermilion with a little chrome yellow and burnt sienna4 ,,shrimp ,,pink4--,mix ,venetian red1 burnt sienna and white lead1 and add a little vermilion4 ,,scarlet ,,madder ,,lake4--,this is a speciality of ,messrs4 ,,mander ,,bros41 a deeper shade being termed ,carmoisin madder lake4 ,both are perfectly fast to light1 even when used for tinting purposes1 and are admirably adapted for the use of the decorator4 ,,signal ,,red4--,this is usually made by mixing orange lead1 vermilionette and ,paris white1 or orange lead by itself may be tinted with vermilionette4 8,signal ,red0 is a well known speciality4 ,,terra-,,cotta4--,mix together two parts of white lead and one part of burnt sienna4 ,see also under 8,red ,terra-,cotta40 ,,turkish ,,crescent ,,red4--,mix equal proportions of ,indian red1 vermilionette and rose pink4 ,,tuscan ,,red4--,this can be bought ready made1 and may be imitated by mixing ten parts of ,indian red with one part ,english rose pink4 ,indian red is very similar in colour but somewhat darker4 ,,venetian ,,pink4--,tint white lead with a little ,venetian red4 ,,venetian ,,red4--,this colour is one of the most useful that the house painter has1 being cheap1 and having good covering power and body4 ,it is not very good for tinting purposes4 ,it would not1 of course1 be often imitated1 but ,indian red--a very similar pigment--could be tinted with red4 ,or it may be imitated by mixing vermilion1 yellow ochre1 madder carmine1 and a little ,cappagh brown1 which is an artist's colour and is rarely used by house painters4 ,,vermilion4--,this bright red cannot be imitated by an admixture of ordinary pigments1 but there are many excellent substitutes on the market1 most of them being vermilionettes4 ,,wine ,,colour4--,add a little ivory black to a mixture of carmine and vermilion4 ,illustration ,,chapter ,,vi4 ,,blues4 ,but few general remarks are necessary concerning the mixture of blues4 ,indigo is used far less1 of course1 than ,prussian blue1 which is the most useful blue employed by the house painter4 ,when burnt sienna and white are added the brilliance is toned down4 ,,antwerp ,,blue4--,this colour should always be bought ready made4 ,if necessary to imitate it1 mix one part of bright green with two parts of ultramarine2 add a very little zinc or other white1 but not lead4 ,brunswick blue is frequently used in the place of ,antwerp blue4 ,,azure ,,blue4--,one part of ultramarine blue and forty parts of zinc white4 ,another shade may be obtained by mixing forty-four parts of white1 twenty-nine of green1 and twenty-seven of blue4 ,or celestial blue and a little red on a base of white will give an azure shade4 ,,berlin ,,blue4--,this is only another name for ,prussian blue4 ,,blue ,,grass ,,tint4--,one part ,prussian blue1 three parts of emerald green1 seven parts of white lead4 ,,bremen ,,blue4--,this is a colour to be bought only ready made4 ,it is not now much used1 and is not suitable for an oil colour4 ,,bronze ,,blue4--,a dark blue colour1 which may be made by mixing three parts of black with one of ,prussian blue4 ,,brunswick ,,blue4--,this is bought ready made1 and can be imitated by adding white lead to ,prussian blue in sufficient quantity to obtain the desired tint4 ,,coeruleum4--,this is an artist's colour of a light and somewhat greenish blue tone4 ,an imitation may be made from ultramarine and white1 with a little yellow1 although the colour is a difficult one to imitate successfully4 ,,celestial ,,blue4--,about equal parts of ,prussian blue1 chrome green and white lead will give this colour1 but there should be most white1 and the tint should be more blue than green4 ,,chinese ,,blue4--,another name for ,prussian blue1 which see4 ,,cobalt4--,this colour is one of the best artists' colours1 and cannot be successfully imitated4 ,it is a beautiful and most useful colour1 but unfortunately it is expensive1 and it is1 therefore1 only used in the finest work4 ,,dark ,,blue4--,obviously this is no very definite colour4 ,manufacturers often use one part of white1 two of chrome green1 and seven of ,prussian blue4 ,but ultramarine1 or indeed any blue1 may be used1 and this may be first lightened with white and black added as may be desired4 ,,fog ,,blue4--,equal parts of burnt sienna and ,prussian blue1 lightened up with about twenty parts of white lead4 ,,french ,,blue4--,mix four parts of white1 one of green1 and four of ultramarine blue4 ,the name is also applied to the best quality of artificial ultramarine4 ,,gobelin ,,blue4--,mix together four parts of ivory black1 two of white1 one of chrome green1 and three of ,prussian blue4 ,,granite 7,,blue47--,to produce this shade mix two parts of black with six of white and one of ultramarine blue4 ,,heliotrope4--,this colour is obtained by using two parts of zinc white1 three of bright red1 and four of ultramarine blue4 ,,implement ,,blue4--,this is made simply by mixing ultramarine with white4 ,barytes and zinc mixed are frequently used for the white1 as lead cannot be employed in the presence of ultramarine4 ,,indigo4--,this dark blue is1 of course1 a natural vegetable pigment4 ,an imitation may be produced by using nine parts of black and four of ,prussian blue1 but this will not look like the real thing4 ,indigo should not be mixed with lead or lead chromates4 ,,lavender4--,three parts of ultramarine blue and one part of carmine1 added to zinc as a base1 give a very good lavender tint for inside work4 ,ivory black mixed with a little carmine and ultramarine and added to white lead may be employed for outside work4 ,,light ,,blue4--,this is simply an ultramarine blue tint produced by the addition of zinc4 ,or the colour may be obtained by tinting white lead with ,prussian blue4 ,,lime ,,blue4--,this is a colour much used formerly for mixing distemper1 but artificial ultramarine has to a great extent supplanted it4 ,it must not be used in oil4 ,what is now usually sold for lime blue is a variety of ultramarine4 ,,marine ,,blue4--,a very dark blue1 which is obtained by mixing one part of ultramarine blue with nine of ivory black4 ,,mascot4--,this is a very dark blue shade1 which is got by mixing black and blue in the proportion of seven parts of the former to one of the latter with a very little green4 ,,mauve4--,four parts of cobalt blue1 twelve parts of oxide of zinc1 and one part of carmine lake give an excellent mauve1 or the colour may be obtained by mixing yellow ochre1 blue black1 and ,venetian red with a little white lead4 ,another shade is obtained with blue1 red and white mixed in the following proportions3 blue1 three parts2 white1 two parts2 red1 one part4 ,or white may be tinted with ivory black1 carmine and ultramarine4 ,,methyl ,,blue4--,mix green with twelve times its quantity of blue and a touch of red4 ,,mountain ,,blue4--,one part of ivory black1 two parts of rose madder1 three parts of cobalt blue1 and four parts of white lead4 ,this colour is only intended for artists' use4 ,,navy ,,blue4--,ivory or drop black mixed with one-fourth the quantity of blue will give this shade4 ,,neutral ,,blue4--,a series of neutral blues may be made by tinting white lead with ,prussian blue and adding burnt umber1 the quantity of blue and umber being varied according to the tint required4 ,,nile ,,blue4--,mix a little white with ,prussian blue and chrome green1 using rather less of the latter than the former4 ,the result is a pale greenish blue4 ,,normandy ,,blue4--,to get this greenish blue shade mix green and blue in about equal proportions with white4 ,,oriental ,,blue4--,one part of lemon chrome yellow1 two parts of ,prussian blue and twenty parts of white lead4 ,,peacock ,,blue4--,this colour is one upon which opinion varies considerably4 ,a splendid colour is made by taking cobalt as a base and adding a little white and a little ,chinese blue4 ,,perfect ,,blue4--,some manufacturers produce this beautifully rich colour4 ,it is very like cobalt1 but slightly darker4 ,,pompeian ,,blue4--,this is made by tinting white with ultramarine and adding a little vermilion and ,italian ochre4 ,,porcelain ,,blue4--,to get this shade mix one part of zinc white and chrome green with four parts of ultramarine blue and a touch of black4 ,,prussian ,,blue4--,this colour is certainly the most important blue the house painter has4 ,it cannot be imitated4 ,it works well in both water and oil1 and is transparent4 ,,quaker ,,blue4--,add a little black to ,prussian blue1 and lighten up with white4 ,,robin',s ,,egg ,,blue4--,use white for base1 tint with ultramarine until a fairly strong blue is obtained1 and then tinge with a little lemon chrome green4 ,,royal ,,blue4--,this is made by adding a little white to ,prussian blue with a touch of crimson lake4 ,some manufacturers make a very rich blue1 which they sell under the name of ,royal blue4 ,,sapphire ,,blue4--,one part of ,chinese blue mixed with double the quantity of oxide of zinc4 ,this should not be used for outside work4 ,,sea ,,blue4--,two parts of ,prussian blue1 three parts of raw sienna1 thirty parts white4 ,,sky ,,blue4--,one part of ,prussian blue added to one hundred and twenty parts of white lead give a sky blue1 but some prefer cobalt1 and this is for many purposes doubtless the best4 ,still another method of obtaining sky blue is to tint white lead with a little lime blue1 adding a very little middle chrome1 but the latter is more suitable for a distemper colour than it is an oil paint1 as lime blue is not very lasting in oil4 ,,steel ,,blue4--,zinc white tinted with lime blue gives this colour for distemper4 ,,stone ,,blue4--,one part of raw umber1 twice the quantity of ,prussian blue1 on a base of white lead will give this colour4 ,,transparent ,,violet4--,mix together four parts of ultramarine blue and one part of crimson lake4 ,this is suitable only for artists' use4 ,,turquoise ,,blue4--,two parts of cobalt blue1 one part of emerald green1 twelve parts of white lead4 ,,ultramarine 7,,artificial74--,this is one of the chief blues used by the painters1 and must be bought ready made4 ,it cannot be imitated1 but it can be bought in many different qualities4 ,it must not be mixed with chromes or white lead1 as it contains sulphur1 and there would on that account be a likelihood of discolouration4 ,natural ultramarine is very expensive4 ,illustration ,,chapter ,,vii4 ,,yellows4 ,a great variety of yellows may be obtained by using the different shades of yellow chrome1 etc41 on the market1 adding a little red occasionally4 ,it may be taken as a general rule that blacks should not be added to yellow unless a greenish tint is desired4 ,if a yellow is too bright it may be lowered by adding a small quantity of blue and red4 ,instructions for obtaining the various grades of yellow are given explicitly below4 ,,alabaster4--,this is yellowish white in colour4 ,mix four parts of white with one of middle chrome yellow4 ,,amber4--,an imitation of amber can be produced by mixing equal portions of burnt sienna1 burnt umber1 blue black and orange chrome yellow1 and adding a quantity of white lead until the desired tint is obtained4 ,,antique ,,bronze4--,add ivory black to orange chrome yellow in the proportion of about five parts of black and one part of orange4 ,,asiatic ,,bronze4--,one part medium chrome yellow1 two parts raw umber1 and lighten with white lead4 ,,brass ,,yellow4--,this may be obtained by mixing forty parts of white lead1 twelve parts of light chrome yellow1 one part raw umber1 and one part burnt umber4 ,or a mixture of ,french ochre and medium chrome yellow1 added to a little umber1 with a touch of blue1 may be used to tint white as a base4 ,,bronze4--,take fourteen parts of black and add one part of yellow and two of green4 ,,bronze ,,yellow4--,mix together five parts of medium chrome yellow1 three parts of white lead1 and one part of raw umber4 ,a mixture preferred by some painters is obtained from chrome yellow1 ,french ochre and a little burnt umber4 ,,buff4--,two parts of white lead and one part of yellow ochre produces a good buff1 or white lead may be tinted with ,french ochre alone4 ,other shades are obtained with mixtures of two parts of black1 four of white1 one of red1 and one and one-eighth of yellow4 ,,buttercup4--,white lead tinted with lemon chrome gives a nice buttercup yellow4 ,,cadmium ,,orange4--,this is an artist's colour of considerable value1 but is1 generally speaking1 too expensive for house painters4 ,it should not be mixed with chrome yellow or emerald green4 ,it is made in three shades3 pale1 medium and deep1 and it cannot be successfully imitated4 ,,canary4--,this is practically another name for straw tint1 and it may be mixed in the same way4 ,the proportions for an ordinary shade of canary are three parts of lemon chrome yellow to one part of white lead1 but less yellow is often preferred4 ,another shade is obtained by mixing two parts of white1 six of yellow and two of green4 ,some manufacturers make an extra light chrome yellow which they call by this name4 ,,chamois4--,a dull yellow made by mixing four parts of white1 five of yellow ochre and one of green4 ,,chamoline4--,mix together five parts of white lead1 three parts of raw sienna and one part of lemon yellow4 ,,citrine4--,although this is a tertiary colour1 and theoretically can be made from green and orange1 opinions as to the exact shade somewhat differs4 ,it may be made by mixing four parts of medium chrome yellow and one part of raw umber2 or five parts of lemon chrome yellow and two parts of raw umber4 ,,citron4--,to produce this colour use ,venetian red as a base and add one part of ,prussian blue1 two of chrome yellow and two of white4 ,,colonial ,,yellow4--,medium chrome yellow mixed with white lead and a little dark orange chrome yellow gives this tint4 ,,cream4--,a good shade is obtained by mixing eight parts of white lead1 two parts of ,french yellow ochre and a touch of ,venetian red4 ,french ochre and lead alone are often employed4 ,there are many other methods of obtaining this tint4 ,note4--,light buff1 medium buff1 and dark buff may all be obtained in the same way by adding more or less of the ,french ochre or white4 ,,daffodil4--,lemon chrome mixed with a little ,venetian red will give this colour4 ,,deep ,,cream4--,this colour is made by tinting white lead with yellow ochre and a little ,venetian red4 7,see ,cream47 ,,ecru4--,tint white lead with ,french ochre and medium chrome yellow4 ,a tint which is sometimes called stone colour is produced in the same way4 ,another shade of ecru may be obtained by mixing three parts of black1 eight parts of white1 three of medium chrome yellow1 and one of ,brunswick green4 ,,gamboge4--,this is an artist's colour4 ,it is a gum resin1 is somewhat fugitive1 and is useless for the purpose of the house painter4 ,,gold4--,to obtain the colour known as 8gold0 white lead may be tinted with five parts of golden or yellow ochre1 and one part of vermilion1 or a mixture of light chrome yellow1 ,french ochre and vermilion may be used instead to tint the white lead4 ,the quantity of yellow used should be considerably more than the ochre4 ,,hay ,,colour4--,french ochre1 medium chrome yellow1 and lamp black used as tinting colour for white lead will give a hay colour1 or raw ,italian sienna and lamp black may be employed if desired4 ,,ivory4--,the addition of a very little medium chrome yellow to white lead produces this tint1 or a very little golden ochre may be used4 ,,jonquil ,,yellow4--,tint white lead with medium chrome yellow to which has been added a very little vermilion red4 ,one of the favourite methods is to employ sixteen parts white lead1 one part of indigo and two parts of light red1 adding as much chrome yellow as may be desired4 ,another way of making jonquil yellow is by simply mixing with a little green about forty times the quantity of yellow4 ,,leghorn4--,this is a pale yellow shade1 which is obtained by mixing white and medium chrome yellow in about equal proportions4 ,,lemon4--,for this colour lemon chrome yellow is used alone1 but the tint may be made by using white lead for a base and adding medium chrome yellow until the desired tint is obtained4 ,the tint that is usually preferred is obtained by mixing five parts of chrome to two parts of white lead1 and adding a little green4 ,however1 lemon chrome yellow purchased ready made is the best4 ,,light ,,buff4--,a little yellow ochre added to white lead gives a good buff colour1 the tint varying with the quantity of ochre4 ,,light ,,deck4--,this colour may be produced by mixing medium and lemon chrome yellow with white4 ,,light ,,stone4--,tint white lead with ,french ochre and lamp black4 ,,lemon ,,yellow4--,this is also called lemon chrome1 and is the palest shade of lemon chrome yellow4 ,it is very useful for preparing the lighter shades of yellow1 and may be imitated by adding cadmium yellow to zinc white4 ,,maize4--,mix yellow and white in the proportion of about three parts of the former to one of the latter to get this light yellow shade4 ,,mander',s ,,yellow4--,this is intended to be used as a substitute for old ,oxford ochre1 but is claimed to be superior4 ,it is based on ochre and is of great strength and body4 ,,manilla4--,this colour is sometimes called 8deep deck40 ,it is made by tinting white lead with ,french ochre and chrome yellow4 ,or a mixture of white with four times the quantity of yellow will produce a shade of manila4 ,,marigold4--,this is obtained by mixing a very little bright yellow with orange chrome4 ,,melon4--,mix equal quantities of black and white2 add twice the bulk of orange chrome and a quantity of medium chrome equal to the mixture of black and white4 ,,mushroom4--,a dull yellow shade1 which may be obtained by adding one part of orange and two of yellow to ten parts of black4 ,,middle ,,stone4--,mix as described under 8,stone10 but use more umber and ochre4 ,,naples ,,yellow4--,this yellow is not now much used1 chrome yellow having to a large extent taken its place4 ,it may be imitated by tinting zinc white with cadmium yellow and a very little yellow ochre4 ,,naples ,,yellow4--,this is obtained by mixing orange with twice as much yellow and three times as much white4 ,it is also the name given to an artist's colour4 ,,ochre ,,yellow4--,mix orange and yellow in about equal proportions with a rather larger quantity of black4 ,,old ,,gold4--,use middle chrome with a little vermilion and burnt sienna1 and add a very little cobalt4 ,a cheaper colour may be made by mixing ochre and burnt sienna4 ,one part of green and three of bright yellow mixed with a little white will give an old gold shade4 ,or it may be obtained in the same way as ,,gold1 which see1 but a little burnt umber may be added4 ,some painters prefer to tint white lead with a mixture of chrome1 raw sienna and vermilion4 ,,olive ,,yellow4--,this colour is sometimes called olive brown4 ,it is made by mixing three parts of burnt umber with one part of lemon chrome yellow1 a larger quantity of yellow being added if a lighter shade is required4 ,another method is to mix ten parts of black1 one of orange1 twelve of yellow1 and five of green4 ,,orange4--,mix white1 yellow and orange in the following proportions3 one part each of yellow and white and eighteen parts of orange4 ,or another shade is got with seventeen parts of orange1 six of yellow and two of white4 ,orange chrome yellow can be easily purchased1 however1 and gives this colour without any admixture being necessary4 ,,persian ,,orange4--,mix fourteen parts of orange chrome1 five parts of yellow ochre and one of white4 ,,pompeian ,,yellow4--,tint white with ,italian ochre and add a very little ultramarine and vermilion4 ,,portland ,,stone4--,mix equal parts of yellow ochre and raw umber and lighten up with white until the desired tint is obtained4 ,,primrose ,,yellow4--,lemon chrome used by itself answers admirably4 ,,primrose4--,ten parts of white1 three parts of green and four parts of yellow will give this light greenish yellow4 ,another shade is got by mixing one part of orange1 two parts of green and five parts of yellow4 ,,spruce ,,yellow4--,add a little ,venetian red to a mixture of ,french ochre and white lead4 ,,stone4--,this colour1 so much used in ,london1 is usually made by mixing together five parts of white lead1 two parts of ,french yellow ochre and one part of burnt umber4 ,by adding a little raw umber1 the tint may be varied as desired4 ,this colour is suitable for outside work4 ,another method for obtaining the shade is to tint white with medium chrome yellow and burnt umber4 ,,straw ,,colour4--,lemon chrome mixed with raw umber4 ,,straw4--,white lead tinted with a little chrome yellow produces an excellent straw tint1 but some prefer to add a little ,french ochre4 ,or medium chrome yellow may be used as a base1 and a mixture added of white1 ,french ochre and ,venetian red4 ,,yellow ,,lake4--,this is a somewhat fugitive colour which has but little body1 but is useful for glazing4 ,to imitate it use equal parts of burnt umber and white lead and tint with chrome yellow and lake4 ,or1 mix umber and white in equal proportions and add ,naples yellow and scarlet lake4 ,to obtain this colour in its full richness it is quite necessary to glaze either admixture with yellow lake4 ,,yellow ,,ochre4--,the ochres are natural mineral pigments1 which are among the cheapest and most useful at the command of house painters4 ,they can be used in any vehicle and are quite permanent1 while they do not affect any other colour with which they may be used4 ,oxford ochre is generally accepted to be the brightest of the series1 while it is distinguished also for the depth of its covering power4 ,,zinc ,,yellow4--,this is a chromate of zinc which is quite fast in light1 and possesses the advantage of permanence even in the presence of impure sulphuretted hydrogen1 etc4 ,it may be mixed with other colours without adversely affecting them4 ,illustration ,,chapter ,,viii4 ,,greens4 ,there is1 of course1 an immense range of greens1 and the list below includes only those which are more or less frequently called for4 ,to obtain a green1 one can mix with yellow either blue or black4 ,this forms a very good example of the difference which is obtained by mixing rays of light and pigments4 ,the painter who wishes to make a systematic study of the subject of colour mixing is advised to experiment4 ,he may first mix1 say1 medium chrome yellow with ,prussian blue1 then with cobalt and then with ultramarine or indigo1 noting carefully the difference in the hue obtained4 ,it is well to keep the quantity of chrome about the same in each case1 so that the difference obtained by the use of the respective blues may be the better appreciated4 ,he should then change his yellow1 mixing the same proportions as nearly as possible with lemon chrome and then with deep chrome1 again noticing the difference in the colours obtained4 ,having done this he can go back to middle chrome and mix black with it in varying proportions4 ,in this way he will obtain a good deal of practical knowledge in a short time concerning the different shades of green obtainable from these simple mixtures1 and he will at the same time not forget the relative costs of the different materials1 so that he may learn to obtain desirable mixtures of colour from the least expensive of the pigments4 ,sometimes a green is obtained simply by lightening up1 with white1 a stock commercial green1 for example1 pea green may easily be obtained by lightening pale ,brunswick green4 ,in some cases greens are produced by an admixture of two or more colours1 such1 for instance1 as ,willow ,green1 which is made from ochre and indigo1 and ,olive ,green from ochre and ,french ultramarine4 ,others have the addition of white1 such as ,grass ,green1 which is white ochre and cobalt1 and ,spring ,green1 which is white1 middle chrome and black4 ,having performed the foregoing experiments1 the reader should next take up the study of lights and shades4 ,in other words1 he should add to the various mixtures obtained in the manner described1 different quantities of first white and then black1 and notice the effect obtained4 ,some colours are very much stronger for tinting purposes than others4 ,for example1 a ,prussian blue will go a long way and a very little is sufficient to colour a considerable quantity of white lead4 ,in the plates we show pure ,turkey umber1 ,french ochre1 raw ,italian sienna1 orange chrome yellow1 ,prussian blue1 medium chrome yellow1 etc4 ,each of these is also shown when mixed with twenty-five parts of zinc and one hundred parts of zinc respectively4 ,the object of using the zinc instead of white lead is to obtain a purer tint1 the white being much whiter than white lead4 ,a careful examination of this tint will give some useful information concerning the tinting strength of different colours4 ,observe1 for example1 ,prussian blue1 which is quite a decided blue even when only one part in one hundred of the colour is used4 ,the next thing to be done is to add a little black to these colours and to note the result4 ,we must urge the reader not to use black in reducing his colours as a rule4 ,if it is desired to reduce or lower a yellow in tone use blue and red1 if a blue is too vivid add a little red and yellow1 and if a red is too bright add a little blue and yellow--in other words1 taking the three primaries1 add to any one a very little of the other two4 ,,aloes4--,a pale sage green shade4 ,to obtain it mix six parts of black1 three of white1 one of chrome yellow1 and three of ,brunswick green4 ,,apple ,,green4--,the simplest way to obtain this is to mix medium chrome green with about thirty times the quantity of white lead1 but other greens may be employed with the addition of a little ,prussian blue when necessary4 ,or a little orange chrome yellow may be added to the medium chrome green and white lead4 ,a very good shade can be produced by mixing one part of white with four of yellow and nine of green4 ,,autumn ,,green4--,mix one part of chrome yellow with seven of black and two of emerald green4 ,,blue ,,green4--,equal proportions of deep chrome green and cobalt1 or three parts of chrome green and one of ,prussian blue1 added to white lead in the proportion of about four times the quantity of lead to the mixture of green and blue1 will give a tint which is sometimes called 8blue green40 ,,bottle ,,green4--,mix together five parts of medium chrome green and one part of blue black4 ,a similar colour may be obtained by adding ,prussian blue to blue black and lemon chrome4 ,another shade is made by using four parts of black and one of green4 ,,bronze ,,green4--,the usual method is to mix black with chrome yellow 7deep71 but indigo may be used instead if desired4 ,a much brighter colour is obtained from a mixture of medium chrome yellow1 ,prussian blue and burnt sienna4 ,or the following recipe may be used3 ,medium chrome green1 five parts2 blue black1 one part2 burnt umber1 one part4 ,a light bronze colour may be obtained by adding more green or by using light instead of medium green4 ,other shades of bronze green may be got by adding a little lamp black to dark chrome green1 or by taking medium chrome green and adding lamp black and a little raw umber4 ,,brunswick ,,green4--,this colour is sold in three shades4 ,it may be imitated by a mixture of ,prussian blue and chrome yellow1 but chrome green1 toned down with black1 is sometimes used4 ,,chartreuse4--,this is a light yellowish green colour4 ,mix four of chrome yellow and five of chrome green1 lightening up with white4 ,,chrome ,,green4--,this colour is bought ready made4 ,to produce it by admixture1 add ,prussian blue to lemon chrome yellow in the proportion of about one part of blue to eight parts of yellow4 ,,eau ,,de ,,nil4--,tint white lead with medium chrome yellow1 emerald green and a touch of ,prussian blue4 ,,egyptian ,,green4--,add two parts of raw umber and one part of lemon chrome yellow to white lead4 ,give the green tone to it by means of a little ,prussian blue4 ,,elephant ,,green4--,a dark green1 obtained by adding a little emerald green to black4 ,,emerald ,,green4--,this beautiful1 bright green cannot be successfully imitated4 ,it must not be mixed with ultramarine4 ,the pigment is a great favourite with some painters1 while others never use it4 ,in ,america1 the pigment is known as 8,paris green10 but it is not there used to any extent by painters1 although it is used as an insecticide4 ,in the absence of the real thing1 a more or less presentable imitation may be obtained by mixing eight parts of white lead and one part of medium chrome green1 or a light shade of chrome green may be used without lead4 ,,foliage ,,green4--,one part of blue black may be mixed with four parts of lemon chrome4 ,use medium chrome yellow if a darker shade is required4 ,,french ,,green4--,this is a bright yellowish green1 which may be obtained by adding to emerald or deep chrome green about one-tenth part chrome yellow4 ,yellow ochre is sometimes used instead4 ,,gage ,,green4--,this is a variety of sage green4 ,it may be made in the same way as pea green1 and when that is reached a little black should be added to bring it to the required sage colour4 ,,genuine ,,green4--,this is usually to be had ready mixed1 but it varies considerably in name as well as in the exact tint4 ,it comes very near to what some manufacturers call deep royal green1 while it is not far removed from an olive4 ,,grass ,,green4--,the colour sold as 8extra light chrome green0 makes a splendid grass green without any addition1 but if it is not available lighten up medium or dark chrome green with chrome yellow4 ,,green ,,slate4--,tint white lead with a bright green toned down with ochre and lamp black4 ,,green ,,stone4--,twelve parts white lead tinted with one part medium chrome green and one part of raw umber give this tint1 or the tinting colours may be ,french ochre and emerald green with a little lamp black4 ,,grey ,,green4--,use ultramarine blue1 lemon chrome yellow1 blue black and white lead4 ,,invisible ,,green4--,a dark green made by mixing nine parts of black and one of bright green4 ,,ivy ,,green4--,this is produced by a mixture of ,french ochre1 lamp black and ,prussian blue4 ,,leaf ,,bud4--,this colour is suitable for inside work4 ,it is made by mixing orange chrome yellow1 light chrome green and white lead in equal proportions4 ,,light ,,green4--,equal quantities of white and blue and rather more than twice the amount of green give a very good shade4 ,,lime ,,green4--,this is bought ready for use1 and is only suitable for distemper1 etc4 ,it cannot be used with oil4 ,,manse ,,green4--,this is produced from a mixture of a bright green1 medium chrome yellow and ,french ochre4 ,,marine ,,green4--,mix one part of middle chrome green with four of black4 ,,medium4--,a green of this name may be purchased ready made4 ,it is very similar to middle ,brunswick green4 ,,mignonette4--,this is a dark green shade1 obtained by mixing one part of chrome yellow and one of ,prussian blue with three parts of chrome green and fifteen parts of black4 ,,moscovite4--,this is a dark sage-yellow greenish shade4 ,it may be obtained by mixing six parts of ,prussian blue1 thirteen of chrome green1 three of orange chrome1 eight of white1 and twenty of black4 ,,moss ,,green4--,tint white lead with ,french ochre1 a bright green and a little lamp black4 ,,moss ,,rose4--,this pale greenish shade is obtained by mixing chrome or ,brunswick green1 bright yellow and white in the proportions of one part green1 four of yellow and three of white4 ,,mountain ,,green4--,add to medium chrome yellow sufficient cobalt to produce the desired hue1 adding a little white if necessary4 ,,myrtle4--,three parts of dark chrome green1 one part of ultramarine blue1 and a little white lead will give an excellent myrtle colour4 ,,night ,,green4--,seven parts of chrome green and three parts of yellow ochre will give this shade4 ,,nile ,,green4--,five parts of white1 nine of emerald green and six of ,prussian blue will give this shade4 ,,olive4--,mix together ten parts of lemon chrome yellow1 one part of ultramarine blue and one part of light ,indian red4 ,another method is to use eight parts of lemon chrome yellow1 one part of blue black and one part of ,prussian blue4 ,or the following proportions give very good shades3 three parts black1 four parts white1 four parts red1 two parts yellow1 and eleven parts green2 or1 fifteen parts of white1 twenty of red1 twelve of yellow1 and fifty-three of green4 ,some painters add equal portions of ,prussian blue and lamp black to lemon chrome yellow for a base1 or the base may be ochre instead of chrome1 and a little of the yellow be added4 ,illustration ,illustration ,,buff ,,seered ,,green ,illustration ,illustration ,,doe ,,colour ,,moss ,,green ,illustration ,illustration ,,sandstone ,,light ,,chocolate ,illustration ,illustration ,,light ,,drab ,,venetian ,,green ,illustration ,illustration ,,stone ,,grey ,,sage ,illustration ,illustration ,,steel ,,grey ,,bronze ,,brown ,illustration ,illustration ,,slate ,,tea ,,green ,illustration ,illustration ,,pea ,,green ,,bronze ,,green ,,oriental ,,green4--,is made by mixing equal proportions of raw umber and lemon chrome yellow4 ,,pale ,,royal ,,green4--,this colour is bought ready made4 ,,peacock ,,green4--,a mixture of seven parts of white1 fifty parts of emerald green and forty-three of ,prussian blue will give this shade4 ,a little yellow is sometimes added4 ,,pea ,,green4--,forty-eight parts of white lead and one part of chrome green will give this colour1 or emerald green may be used if desired4 ,some makers mix medium chrome green and white lead in the proportion of five parts of the latter to one part of the former to obtain a pea green1 but the proportions may be varied considerably according to the exact shade required4 ,,persian ,,green4--,this is only another name for emerald green1 the vivid and somewhat staring hue being sometimes employed in ,oriental decoration and being then termed 8,persian ,green40 ,,pistache4--,this is a yellowish green shade4 ,it may be got by mixing seven parts of black1 one of yellow ochre and one and half of chrome green4 ,or chrome yellow may1 if desired1 be substituted for the ochre4 ,,prussian ,,green4--,to produce this mix five parts black1 three parts chrome yellow and twelve parts emerald or medium chrome green4 ,,quaker ,,green4--,mix equal proportions of ,venetian red and medium chrome yellow and add blue black4 ,add to this mixture a quantity of chrome green equal in bulk to the three4 ,this will give an excellent quaker green4 ,,reed ,,green4--,mix white1 chrome yellow and chrome green in about equal quantities to produce this shade4 ,the name1 however1 has no special significance1 and an admixture of almost any yellow and green1 lightened up with white1 might be used instead4 ,,sage ,,green4--,this may be produced by tinting white lead with four parts of light chrome green and one part of ivory black1 or the white lead may be tinted with a mixture of ,french ochre1 lamp black1 and ,prussian blue4 ,another recipe is as follows3 ,add raw umber and chrome green in the proportion of about one part of the former to two parts of the latter added to white lead until the desired shade is obtained4 ,,sap ,,green4--,mix with white lead medium chrome yellow and a very little lamp black4 ,,sea ,,foam4--,tint white lead with medium chrome yellow and emerald green1 or if too bright use medium chrome green instead of the emerald4 ,,sea ,,green4--,this colour is obtained by adding deep chrome to white lead4 ,another sea green1 and a very good one1 is obtained by mixing light ,brunswick green1 raw sienna or ochre and white4 ,,seered ,,green4--,tint white lead with ,french ochre1 medium chrome yellow and a little bright green4 ,,starling',s ,,egg ,,green4--,a mixture of light chrome and ,prussian blue1 lightened up with white1 will produce this colour4 ,,tea ,,green4--,medium royal green1 chrome yellow1 and lamp black1 added to white lead1 will give this colour4 ,,velvet ,,green4--,mix three parts of burnt sienna1 five parts of light chrome green and eight parts white lead4 ,,venetian ,,green4--,lighten up dark chrome green with white lead4 ,,water ,,green4--,raw sienna mixed with a little deep chrome green and added to white lead gives a water green tint4 ,,willow ,,green4--,tint white lead with medium chrome green and add a little burnt umber or ivory black4 ,illustration ,,chapter ,,ix4 ,,browns1 ,,and ,,how ,,to ,,mix ,,them4 ,,acorn ,,brown4--,this is very similar to a rich chocolate1 and may be made in the same way4 ,,alderney4--,this is an orange brown in hue1 and may be made by mixing fourteen parts of black1 one of white1 two of orange and three of yellow4 ,,arabian ,,brown4--,this is a dark terra-cotta1 and may be made by adding white and black to ,indian red4 ,,argus ,,brown4--,this is a very dark brown1 and may be made by mixing twelve parts of black with two parts of orange and one part of yellow4 ,,auburn ,,tan4--,mix together one part of burnt umber1 three parts of golden ochre and twenty parts of white lead4 ,,autumn ,,leaf4--,this is also called 8leather lake40 ,it may be made by mixing on a base of white lead ,french ochre1 orange chrome yellow and ,venetian red4 ,,bismark4--,a shade of this name may be produced by using two parts of black1 one of red and one of orange1 which mixed together form an orange brown4 ,,bismark ,,brown4--,this colour is obtained by mixing with six parts of black1 one part of orange and one of yellow4 ,,bistre4--,this colour is principally used by artists4 ,it must not be mixed with oil1 and it is not always reliable for its permanency4 ,it may be imitated by mixing together ten parts of black with two of red and a little green4 ,,bronze ,,brown4--,black coloured with a little orange chrome and bright green4 ,,brown4--,the methods of obtaining different browns will be found under the headings of the respective names1 such as 8,chesnut10 etc4 ,a good average brown may be obtained by mixing together three of ,indian red1 two parts of lamp black and one part of yellow ochre4 ,a lighter colour is obtained by using more ochre and less black1 in fact1 a large variety of brown tints may be produced by varying the proportions of ochre and black4 ,,burnt ,,rose4--,this is a dark red brown shade4 ,to produce it use eight parts of black1 one and half parts of red1 two parts of orange1 and one of blue4 ,,burnt ,,sienna4--,this is a sienna calcined1 the effect being to produce a darker shade4 ,,burnt ,,umber4--,this is a rich dark greenish brown1 but the shade varies considerably in different qualities4 ,turkey umber is the richest4 ,umbers should always be purchased ground ready for use4 ,,cafe ,,au ,,lait4--,to produce this shade mix five parts of black1 three of white1 one of yellow and a little orange4 ,a little red may also be added if desired4 ,,cappagh ,,brown4--,this is an artist's colour of a reddish brown colour1 being very like umber4 ,,chesnut4--,this rich brown may be obtained by mixing four parts of medium chrome yellow and two parts of ,venetian red4 ,one part of yellow ochre may be added if desired4 ,,chocolate4--,five parts of burnt sienna and one part of carmine or lake give a rich chocolate4 ,a less expensive colour is obtained by mixing ,indian red and lamp black with a little yellow ochre4 ,a touch of vermilion will clear and brighten this mixture4 ,another way to produce chocolate is to mix twenty parts of black with three parts of red1 but this gives a more or less muddy shade4 ,,cinnamon4--,six parts white lead1 two parts burnt sienna1 and one part of golden ochre makes a good cinnamon2 or ,french ochre1 ,english ,indian red and a little lamp black will produce the same colour4 ,another way is to mix ,italian sienna and burnt umber4 ,,clay ,,drab4--,mix equal parts of white lead1 raw umber and raw sienna1 and add a little chrome if desired4 ,some painters prefer to add a little medium chrome yellow4 ,,cocoanut ,,brown4--,this shade may be obtained by mixing one part of white lead with double the quantity of burnt umber4 ,,coffee4--,to produce this colour mix together five parts of burnt umber1 two parts of yellow ochre and one part of burnt sienna4 ,,copper4--,tint zinc white with ,french ochre1 ,italian sienna and lamp black to obtain the shade shown in the sample4 ,a very good copper shade is obtained by mixing two parts of medium chrome yellow1 one part of ,venetian red1 and one part of drop black or two parts of lamp black1 three parts of medium chrome yellow and six parts of ,venetian red4 ,,cork ,,colour4--,tint white lead with ,french ochre1 ,indian red and a little lamp black1 or with raw ,italian sienna and burnt umber4 ,,dark ,,drab4--,french grey1 ,indian red and lamp black added to white lead give this colour4 ,,dark ,,lava4--,mix ,french ochre1 ,indian red and lamp black1 and lighten with white lead4 ,,dark ,,oak4--,add ,french ochre and ,venetian red to white lead as a base4 ,,doe ,,colour4--,this may be produced by mixing raw ,italian sienna and burnt umber with white lead1 or ,french ochre and mineral brown with a little lamp black4 ,,dove ,,colour4--,white lead1 with a little ,prussian blue and a touch of ivory black will produce an excellent dove colour2 but ,french ochre1 ,indian red1 and lamp black may be employed1 or a mixture of raw and burnt ,turkey umber and ,italian sienna4 ,,drab4--,a good drab is made by using burnt umber and white lead in the proportion of one of the former to ten of the latter1 but raw umber and a little ,venetian red may be used instead4 ,,fawn4--,this might also be called deep drab4 ,it is produced by tinting white lead with a mixture of ,french ochre1 ,indian red1 and lamp black or raw ,italian sienna and raw ,turkey umber4 ,another shade of fawn is obtained by using eight parts of white lead1 one part of chrome yellow1 one part of ,indian red1 and one part of burnt umber2 or eight parts of white lead1 two parts of medium chrome yellow1 one part ,venetian red1 and one part of burnt umber4 ,,foliage ,,brown4--,mix burnt umber with raw and burnt sienna and lighten with white as may be necessary4 ,,french ,,ochre4--,this colour1 of course1 is bought ready made1 and it must be observed that1 in addition to the fineness1 the particular tone of this colour is very important1 especially to grainers4 ,,golden ,,brown4--,sixteen parts of white lead are mixed with one of burnt sienna and three parts of yellow ochre4 ,,indian ,,brown4--,mix equal parts of ,indian red1 lamp black and yellow ochre4 ,,lava4--,an orange brown lava shade can be got by mixing fifteen parts of black1 five parts of orange1 four of yellow and a very little white4 ,,leather ,,brown4--,four parts of yellow ochre1 three parts of ,venetian red1 two parts of white lead1 and one part of blue black give a rich leather brown4 ,if a lighter tint is required less black should be used4 ,or the following recipe may be used3 ,mix white with three times the quantity of red and the same amount of yellow4 ,some painters use ,french ochre for a base and tint with burnt umber or ,venetian red4 ,,light ,,lava4--,a mixture of raw umber and raw sienna added to white will give this colour4 ,,lime ,,chocolate4--,this is a speciality of ,messrs4 ,,mander ,,bros4 ,it is suitable for mixing in water or oil and is very useful for all purposes of the decorative artist4 ,,light ,,oak4--,add ,french ochre and ,venetian red to white as a base4 ,,lizard ,,bronze4--,fifteen parts of black1 one of orange1 five of yellow1 and four of green will produce this dark greenish yellow shade4 ,,madder ,,green4--,a reddish brown madder shade is produced with one part blue1 three parts each of orange and red1 and six parts black4 ,,mahogany4--,mix orange and yellow in equal proportions with five times the quantity of black4 ,,mast-,,coloured ,,paint4--,the following recipe gives good results4 ,mix twelve parts of genuine dry white lead with two parts of ,french ochre1 two parts of grey barytes1 and one part of genuine oxide of iron4 ,,nut ,,brown4--,equal quantities of red and yellow mixed with ten times as much black will give this shade4 ,,old ,,wood4--,to get this shade mix one part of blue and red1 two of orange and five of black4 ,,olive ,,brown may be made by mixing three parts of burnt umber and one part of lemon chrome yellow2 or another shade is given by mixing equal quantities of orange and green with about twelve times as much black4 ,some painters add lemon chrome yellow to raw umber for a base4 ,,orange ,,brown4--,two parts of orange chrome yellow mixed with three parts sienna4 ,,pomegranate4--,a golden brown shade sometimes called by this name is given by mixing three parts of red1 six of orange1 four of yellow with twenty parts of black4 ,,purple ,,brown4--,mix four parts of dark ,indian red with one part of ultramarine blue and of lamp black4 ,the addition of white lead will usually make a more satisfactory tint2 if the shade is too purple1 a similar quantity of blue should be added2 if too red1 more black may be used1 or a little yellow added1 but purple brown pigment is cheap4 ,,raw ,,sienna4--,siennas are valuable earth colours most useful for staining or tinting1 but practically useless as body colours4 ,the degree of transparency determines to some extent the quality4 ,,raw ,,umber4--,a valuable earth colour4 ,,russet ,,brown4--,indian red lightened with white produces a tint sometimes called by this name4 ,,russet4--,a very good russet shade is got by mixing twenty parts of black1 twelve parts of red1 ten of orange1 three of yellow1 and five of green4 ,or medium chrome green1 raw umber1 and a little orange chrome yellow added to white as a base will give an excellent russet4 ,,sandstone4--,a tinting colour made by mixing raw and burnt umber will produce this colour4 ,,seal ,,brown4--,four parts burnt umber1 one part golden ochre4 ,,sepia4--,this is a natural colour used chiefly by artists4 ,it cannot be imitated and it must not be used in oil4 ,,sienna ,,brown4--,this colour is variously called 8sienna brown10 8teak brown10 and by other names4 ,it is made by mixing burnt ,italian sienna and ,french ochre with pure zinc4 ,,snuff ,,brown4--,french ochre and ,indian red added to zinc white will produce this colour4 ,another way to produce a snuff colour is to mix four parts of medium yellow and two parts of ,vandyke brown1 or burnt umber may be substituted for the ,vandyke brown if desired4 ,another snuff colour may be obtained by mixing burnt umber and yellow ochre1 tinging with a little ,venetian red4 ,,tan4--,mix ten parts of burnt sienna and four parts of medium chrome yellow with three parts of raw umber4 ,white lead and burnt sienna1 to which has been added a very little lamp black1 will also produce a tan colour4 ,,thrush ,,brown4--,one part yellow ochre1 three parts burnt umber1 twelve parts white lead4 ,,turkey ,,umber4--,the richest variety of the many umbers on the market4 ,,vandyke ,,brown4--,this is an important brown to the house painter4 ,it cannot be imitated1 although a little red added to umber produces a colour somewhat similar to it4 ,,vienna ,,smoke4--,the best burnt umber should be tinted with lemon chrome yellow and a little ,venetian red4 ,,wallflower ,,brown4--,this beautiful brown may be made by a mixture of medium chrome yellow and brown lake4 ,or crimson lake and burnt sienna may be mixed with medium chrome4 ,illustration ,,chapter ,x4 ,,ground ,,colours ,,for ,,graining4 ,a considerable difference of opinions exists among grainers as to the best method of obtaining their grounds1 indeed the most experienced men are by no means agreed as to precisely what colour a ground should be4 ,the following mixtures will produce good grounds provided that really first-class colours are employed4 ,,maple4--,white lead tinted with a very little vermilion and about an equal quantity of lemon chrome4 ,some prefer yellow ochre only1 others ochre and raw umber in the proportion of four ounces ochre and one ounce umber to thirty pounds of lead4 ,,medium ,,oak4--,add ,french ochre to white lead in the proportions of about one hundred and twenty of lead to five of ochre4 ,add a little burnt umber4 ,,light ,,oak ,,and ,,birch4--,eighty parts of white lead to one of yellow ochre produces a good ground1 but sixty pounds of white lead1 half a pound of ,french ochre1 and one ounce of lemon chrome is sometimes preferred4 ,,dark ,,oak4--,sixty parts of white lead and one part of golden ochre may be used1 or the following mixture if preferred4 ,six pounds of white lead1 one pound of ,french ochre1 two ounces medium ,venetian red and two ounces of burnt umber4 ,,satinwood4--,mix six ounces of lemon chrome to fifteen pounds of pure white lead and add a little deep ,english vermilion4 ,,pollard ,,oak4--,tint one hundred pounds of white lead with twenty-seven pounds of ,french ochre1 four pounds of burnt umber1 and three and three-quarter pounds medium ,venetian red4 ,,pitch ,,pine4--,tint sixty pounds of white lead with half pound medium ,venetian red1 and quarter pound of ,french ochre4 ,,italian ,,walnut4--,one pound of ,french ochre mixed with ten pounds of pure white lead and four ounces of burnt umber and four ounces medium ,venetian red give this ground4 ,,knotted ,,oak4--,sixty pounds of white lead1 nine pounds of ,french ochre1 and three and half pounds burnt umber4 ,,rosewood ,,and ,,dark ,,mahogany4--,four pounds of medium ,venetian red1 one pound of orange chrome yellow1 and one pound of burnt umber1 or a little less burnt umber may be used according to the strength4 ,,mahogany1 ,,dark4--,four pounds of medium ,venetian red1 one pound of orange chrome yellow1 and one pound of burnt umber1 or a little less burnt umber may be used according to the strength4 ,,mahogany1 ,,light4--,mix six pounds of pure white lead with one pound medium ,venetian red and five ounces of burnt umber4 ,,american ,,walnut4--,thirty pounds pure white lead tinted with nine pounds of ,french ochre1 four pounds burnt umber1 and one pound medium ,venetian red4 ,,antique ,,oak4--,thirty pounds pure white lead tinted with nine pounds of ,french ochre1 four pounds burnt umber1 and one pound medium ,venetian red4 ,,oak1 ,,antique4--,thirty pounds pure white lead tinted with nine pounds of ,french ochre1 four pounds burnt umber1 and one pound medium ,venetian red4 ,,ash4--,white lead tinted with a very little vermilion and about an equal quantity of lemon chrome4 ,some prefer yellow ochre only1 others ochre and raw umber in the proportion of four ounces ochre and one ounce umber to thirty pounds of lead4 ,,birch4--,eighty parts of white lead to one of yellow ochre produces a good ground1 but sixty pounds of white lead1 one-eighth of a pound of ,french ochre and one ounce of lemon chrome is sometimes preferred4 ,our examples of graining grounds with their mixtures must be taken as an average arrived at from comparison of the methods employed by different painters in various parts of the country4 ,no doubt some readers will not agree with them and will think that the colour should be lighter or darker as the case may be4 ,as we have explained1 the mixtures given are those which may be considered an average1 and a variation of them may be made according to individual taste and judgment4 ,,graining ,,colours4 ,having given the ground colours1 we now proceed to give those which are used for graining4 ,it will be understood that the method of obtaining a graining colour varies just as much as it does in the case of the ground colour1 according to the opinion of the painter4 ,the following are given as what may be safely followed to get an average good result4 ,,light ,,oak4--,mix one-third burnt umber with two-thirds raw sienna1 and add a very little drop black4 ,,ash4--,same as ,light ,oak4 ,,chesnut4--,mix raw sienna1 vandykes and raw umber with a very little burnt sienna4 ,,bird',s ,,eye ,,maple4--,mix raw umber and raw sienna with a little vandyke brown or ivory black4 ,,pollard ,,oak4--,mix burnt umber1 vandyke1 raw and burnt siennas1 and add a little black or ultramarine4 ,,cherry4--,use raw and burnt siennas and raw umber4 ,,american ,,walnut4--,burnt umber to which is added a little vandyke brown will give a good graining colour for walnut4 ,,mahogany4--,burnt umber1 burnt sienna and vandyke brown1 with the addition of a little crimson lake for over graining1 will answer well for mahogany4 ,,rosewood4--,vandyke brown1 with the addition of a little black1 should be used1 and rose pink may be added if desired4 ,illustration ,,chapter ,,xi4 ,,how ,,to ,,test ,,the ,,quality ,,of ,,colours ,although to accurately test the quality of a colour requires somewhat elaborate experiments1 both chemical and practical1 yet there is no reason why the painter should not determine with a sufficient degree of accuracy for his purpose the quality of the colour he uses4 ,indeed1 if this were done more generally1 much of the adulterated trash or 8muck10 as it has been called1 would be driven from the market1 and none would rejoice more at such a result than the colour manufacturers themselves4 ,the writer has no connection with1 or interest in1 these manufacturers1 but it is only fair to assert that they are as desirous that the trade should use pure colours as the painters can possibly be4 ,even the biggest houses produce cheap grades of colours1 and this they do1 as a rule1 almost under a protest and simply because they are compelled by painters demanding colours for certain low prices1 far below that which it would be possible to produce the pure article4 ,our advice1 then1 to painters is1 make a careful comparison between the pure colour and the one you are using4 ,at the same time1 compare the prices and then see which is cheaper to use4 ,if even they come out at the same price1 remember that by using a pure colour you will have all the benefit of that purity of tone so necessary for the execution of good work4 ,the first thing to be done in testing any paint material is to have a standard4 ,there must be no doubt about this4 ,unless we have in each case something with which to compare the particular sample of colour that is being examined1 we shall have no useful information concerning it4 ,take1 therefore1 good decorators' colours of well known make4 ,if necessary purchase small tubes of the best colours1 such as are put up for artists4 ,this will be rather a severe trial but still it will afford a standard4 ,having such samples and going through the tests we are about to describe1 the painter can1 after some amount of trouble1 arrive at results which are almost as accurate as those which could be deduced by a chemist4 ,an expert on this question some years ago summarised the characteristics of colours which should be considered in making the examination1 under the following heads3-- #a4 ,purity of the material4 #b4 ,purity of the tone2 brilliancy2 richness1 which indicate the amount of care in selection4 #c4 ,fineness of grinding or preparation2 this means the degree of the division of the particles and upon the completeness of such division will depend4 #d4 ,its spreading capacity4 #e4 ,its body4 ,this applies1 of course1 only to opaque or semi-opaque colours4 ,body is opacity1 and means capacity to conceal the surface to which the paint is applied1 and must not be confused with spreading4 ,it is an inherent quality4 #f4 ,its staining power or tinting strength with white or colours4 #g4 ,the quality of purity of the tint with white4 #h4 ,if a paste colour1 the consistency of the paste4 #i4 ,transparency of transparent colours and the quality of the transparency4 #aj4 ,the permanency of the colour4 ,it will be observed that all of these tests will not necessarily be applied to every colour4 ,for instance1 a transparent colour would be tested for its transparency but clearly not for its body4 ,the one condition is the converse of the other4 ,we will now consider the above-named qualities separately4 ,,purity ,,of ,,the ,,material4--,this is sometimes of considerable importance1 as in the case of white lead1 whilst in others--for example the earth colours--it can hardly be said that there is a standard of purity4 ,as a rule a knowledge of practical chemistry is necessary in order to determine whether a sample of paint or colour is pure or not4 ,the purity of white lead1 however1 can readily be ascertained by the painter who possesses no chemical knowledge1 viz41 by aid of the blow-pipe4 ,take a piece of flat charcoal and cut out a hollow space from it into which place a small piece of white lead to be tested1 about the size of a pea4 ,now direct the flame of a blow-pipe upon it1 using an ordinary paraffin candle or a ,bunsen burner1 taking care that the blue portion of the flame bears upon the lead4 ,keep up a steady blow for a few minutes and the white lead will be converted into metallic lead1 which will show in the form of a bright silver-like button4 ,if the lead is adulterated the blowing will only have the result of making it appear like a cinder4 ,to conduct this experiment successfully requires a little practice with the blow-pipe in order to obtain a steady flame4 ,another method of testing is to place a little white lead in a crucible and place this on a hot fire1 when1 if genuine1 it will be converted into metallic lead4 ,a form of blow-pipe that may be purchased at most ironmongers' shops consists of a wooden handle with a mouth piece filled with cotton soaked in benzine4 ,to this is attached a rubber tube with a mouth piece4 ,this blow-pipe is very easily used1 and may be successfully employed in testing the purity of white lead in the manner indicated4 ,,purity ,,of ,,tone4--,some remarks on this subject will be given under the heads of the various groups of colours4 ,speaking generally1 the richness of brilliancy of tone is easily discernible by placing the sample to be tested side by side with another of well known excellence4 ,in siennas1 ochres and umbers the selection of crude material by which the richness of tone is assured is of great importance4 ,,fineness ,,of ,,grinding4--,the method of testing the fineness of a pigment usually employed by the painter is to rub a little on the finger nail2 but this is a crude and unreliable method4 ,if the pigment is dry and it is desired to compare it for fineness with a similar pigment or white lead1 the following is as good a plan as any3-- ,take two tall vertical glass jars1 place in them an equal quantity of turpentine1 and then take a small quantity of the white lead to be tested4 ,place it in one jar1 and an equal quantity of the pigment with which it is to be compared1 in the other2 thoroughly stir up both and then note the time it takes the samples to settle4 ,if graduated marks are made on the two jars the observations will be taken more readily4 ,another test is to weigh out equal quantities of the two leads1 and then to take a very small quantity of the same colour1 say black1 and add to each sample1 thoroughly mixing4 ,the lead that is the lightest in colour will be the finest4 ,the explanation of this is somewhat interesting4 ,suppose that we have a number of cubes of white lead each measuring one inch side4 ,this will give us six superficial inches to be coloured4 ,now suppose that we break up these inch cubes into half inch cubes1 which will give eight half inch cubes to each inch cube4 ,now as each half inch cube has six faces measuring half an inch by half an inch1 it has a superficial surface of three square inches2 and as there are eight of the half inch cubes1 there are twenty-four superficial inches to be coloured against six in the inch cubes4 ,it will be seen1 therefore1 that by increasing the fineness of a pigment a greater surface is presented to be coloured1 and hence more colour is required4 ,another test for fineness is to paint different samples thinned in turpentine on plate glass2 when dry the two specimens may be compared and the difference of fineness between them will soon be apparent4 ,still another test1 and one frequently used by painters1 is to place a quantity of the colour ground in oil that is to be tested upon a level surface such as a piece of glass1 and to run the blade of a spatula or palette knife over it and then over another sample with which it is to be compared1 noticing carefully the difference in appearance of the two samples4 ,by these means the presence of grit is discovered4 ,,spreading ,,capacity ,,or ,,covering ,,power4--,the spreading capacity of pigments and their 8body0 are very nearly related1 although of two equal in body one may possess greater covering power or spreading capacity than the other4 ,a practical method of testing covering power is to mix a small quantity of a standard paint and an exactly similar quantity of the pigment to be tested1 taking care to use precisely the same amount of oil and thinners in each case4 ,then1 taking a clean brush for each of the paints1 paint a door1 or other surface that has been primed1 on two panels side by side1 continuing to paint till all the pigment has been in each case used up4 ,the one that goes farthest has the greater covering power4 ,in comparing the two it will be well to notice whether the body is equal in both cases1 as one may go farther but not cover so well4 ,,body4--,the word 8body0 as applied to pigments is almost synonymous with opaqueness4 ,it is the most important property of a pigment1 and it is because white lead possesses the quality in an eminent degree that it is so much valued4 ,body is sometimes called 8covering power10 but this term is a little misleading1 as some may suppose it to relate to the spreading capacity of the pigment4 ,if two different white leads ground in oil to an equal consistency are applied to different panels of a door1 primed in the same manner1 the one of the two leads that possesses the better body will be shown by it hiding the grain of the wood better4 ,some white leads1 especially those that are manufactured by the new processes1 lack this important quality of body1 and three coats will only cover the work as well as about two of old process white lead4 ,there are number of methods of practically testing the 8body0 of pigments1 among the simplest being the following4 ,prime and paint a board with alternate black and white squares1 like a chess or draught board4 ,take a sample of a pigment1 similar to that to be tested1 of which the body is known to be good1 and paint a wide strip across the chess board2 then paint a smaller strip of the pigment to be tested4 ,when both strips are dry1 by comparing them one can tell almost at a glance which has the better body1 the superior pigment covering or hiding the black squares better than the other4 ,a second coat may afterward be applied to each over a portion of the strip1 if desired4 ,it is important to notice that in all cases of practically testing paints the results are obtained by comparisons being made1 and hence it is necessary in every case to have a standard with which to compare the sample to be tested4 ,the test of painting over squares of black and white may be varied by using stripes instead4 ,the test answers equally well for white lead1 zinc1 lithopone1 or any colour of which the quality of body is of importance4 ,in some colours it is of little moment4 ,,tinting ,,or ,,staining ,,strength4--,we have already explained at length how greatly the tinting strength of different colours or stains varies4 ,any painter can test the tinting strength of any colour himself in a very simple manner4 ,all that is necessary is to have a pair of apothecaries' scales1 some blotting paper1 a palette knife1 some pieces of glass or a flat piece of marble and some pieces of waxed paper4 ,first weigh out say eighty grains of dry white lead or dry zinc4 ,any other white will answer equally well4 ,place these eighty grains on one side of the glass and the second eighty grains on the other4 ,now take the dry colour and weigh one grain and add that to one of the little piles of white1 then weigh a grain of the standard colour and add that to the other pile4 ,now add to each pile a few drops of oil1 taking care that the number of drops is the same in each case4 ,with the palette knife thoroughly mix until no streaks can be seen and the mixture is perfectly uniform4 ,then by comparing the two the difference in tinting strength will at once be apparent4 ,the same result would have been produced had ordinary white lead ground in oil been used instead of dry lead or zinc4 ,if the colour is ground in oil a little difference in the method must be observed1 the reason being that one colour might be ground much thicker than the other1 in other words1 might contain much more oil than the other1 and hence if equal weights of each were compared the result would be misleading4 ,take then each colour in oil--that is the standard and the colour with which it is to be compared--place on a small quantity of blotting paper and allow it to remain a few minutes so that the oil may be extracted4 ,if it is thought necessary the sample can be washed with benzine1 but for painters' purposes the extraction of the oil by means of blotting paper is sufficient for the purpose4 ,the two samples having remained on the blotting paper for a short time one grain of each is weighed out separately on little pieces of wax paper1 this being used so that the colour shall not stick to the scale4 ,then each grain is mixed separately with the white and the result compared as before4 ,it is not too much to say that every painter should be prepared to make this test because it informs him not only as to the tinting strength of the colour but also gives valuable information as to the tone1 etc4 ,of course the quantities may be varied if necessary1 and a larger amount used instead of the single grains4 ,it need hardly be pointed out that scrupulous cleanliness is necessary for successfully carrying out this test4 ,the palette knife must be wiped between each operation and every care taken to do justice to both samples4 ,if the reader will turn to the samples of colour issued in this work he will see a number of colours given in their full strength1 and also when reduced with certain parts of white1 as marked upon the sheets4 ,the colours used in the preparation of this sheet were of average quality1 and it will prove interesting no doubt to the student to mix the colour he has been in the habit of using in the same proportion with white and to note whether the results come out above or below those shown by our samples4 ,,the ,,permanence ,,of ,,colours4--,it must be admitted that it is very disappointing to a painter to find1 after taking pains to produce the exact colour required1 that it flies or fades after a little exposure to the weather4 ,the tests for the permanence of a colour when exposed to light are simple enough and are to mix a little of the colours to be tested in oil and to spread them on different slips of paper1 cut the paper in half1 number each half with corresponding figures or letters1 expose one half to a strong light for as long as may be deemed desirable and put the other half away into a safe place where the light does not penetrate4 ,waxed paper is the best1 as it will not absorb the thinners or1 better still1 glass may be used1 this being cut across with a diamond after the paint has been applied4 ,it need hardly be said that the permanence of water colours is entirely different from that of oil colours4 ,some very useful experiments were made several years ago by ,capt4 ,,abney on the permanence of water colours1 and these were published in the form of a blue book4 ,as far as pigments are concerned1 we consider that yellow ochres1 siennas1 umber1 ,vandyke brown1 and the earth colours generally are permanent1 as are ,venetian red1 ,indian red1 chrome yellow1 and lemon yellow4 ,ultramarine1 ,prussian blue and vermilion are also permanent or nearly so4 ,we may now take each colour separately following the order taken by the late ,mr4 ,w4 ,c4 ,,wilson1 who arranged the above quoted table in conjunction with the author4 ,,greens4 ,,chrome ,,green4--,this colour is often made by the addition of a base such as barytes1 but the presence of this material is not at all necessary1 although the presence of the earth for some reason assists in producing the mixture of ,prussian blue and chrome yellow which is used to produce chrome green4 ,a number of different shades of chrome green are sold1 usually designated pale1 mid 7middle or medium7 and deep4 ,the tinting strength should be tested by mixing one part of green to1 say1 a hundred parts of white lead or zinc1 as explained elsewhere1 or twenty-five parts of lead may be used to one part of green4 ,if it is desired to find out the relative strength for tinting purposes of the green1 it can be done very simply in the following manner1 but the painter must have a pair of apothecaries' scales1 in order to weigh the different quantities4 ,take first the same quantity of the green which is being tested as that of the standard4 ,if the colour is not so deep add more green each time1 and more and more until the two samples are exactly the same tint4 ,by comparing the weights the experimenter will have accurately the relative value of the two greens for colouring purposes4 ,the test for body of the green is performed in almost exactly the same way as that already described for white lead4 ,prime a board thoroughly so that there may be no absorption1 paint across the centre of it a stripe of white and by its side a stripe of black4 ,when this is thoroughly dry take the two greens2 that is1 the standard and the one being tested4 ,then mix both with exactly the same amount of oil and turpentine4 ,take a clean brush for each and paint over the black and white stripes4 ,the one which has the greatest body will1 of course1 hide the stripes better than the other one4 ,the experiment is simple1 and is very useful as a body tint4 ,,bronze ,,green4--,this colour is usually mixed by the painter and not bought ready made1 although all manufacturers make bronze greens4 ,quaker green is practically the same thing4 ,the mixture usually employed is ochre1 lamp black and a little yellow4 ,the chrome should be either yellow or orange1 but not lemon4 ,bronze greens may be made in a large variety by varying the quantities of the colours mixed and by introducing sienna1 umber or ,indian red in small quantities as may be required4 ,the colour is very rich1 and many cheap bronze greens consist of a considerable quantity of adulteration4 ,,emerald ,,green4--,this is most entirely without body1 but is the most brilliant green known4 ,it is therefore sometimes used where brightness is required4 ,when ground in oil the test for purity is to dissolve it with benzine and when the dry powder is obtained to treat it with strong ammonia4 ,it will thus entirely dissolve if pure1 giving a deep blue colour4 ,,venetian1 ,,indian ,,and ,,tuscan ,,reds1 ,,etc4 ,these colours may be classed as the iron colours1 consisting largely of oxide of iron4 ,it should be remembered that ochres and umbers also receive their colouring from iron4 ,analysis gives but little information concerning the value of this group of colours4 ,they form economical paints1 especially as they spread well4 ,the proportion of oxide of iron contained is often considered to be an indication of quality1 but this refers particularly to cases where paint is to be used on iron4 ,the tests of value to the painter are body and fineness of grinding1 which may be tested in the usual way4 ,oxide paints are usually sold as such in three shades4 ,a ,venetian red is lighter than an ,indian red1 which1 in comparison1 should have a purplish tint4 ,it must be remembered in this class of colours that a comparison of the same shades must be made if any useful result is to be obtained4 ,,tuscan ,,red is a mixture of ,indian red with some sort of lake colour in order to secure brilliancy4 ,this brilliancy forms an important feature of the test2 body should also be ascertained1 and fineness of grinding is also important4 ,tuscan red1 which is coarse1 may lose its richness when ground fine4 ,,vermilion ,,and ,,vermilionettes4--,many of the imitation vermilions consist of orange red1 that is1 a superior red lead coloured with eosine1 which is the name of one of the coal tar colours4 ,speaking generally1 the scarlet colours are more permanent than those having a crimson tinge4 ,it is important to know that the tinting strength for many vermilionettes is no indication of their quality or rather1 perhaps it should be said that within reasonable limits the better stainers they are1 the worse colours they will prove to be4 ,this is because barytes or some other mineral may be substituted for the orange red and then the eosine will go farther in staining4 ,,red ,,lead4--,every painter knows that the great objection to the use of red lead is that it will harden quickly4 ,we recommend that on large jobs arrangements should be made with a manufacturer to supply a sufficient quantity for two or three days4 ,it should be well ground to a thin paste in the proportion of1 say1 about one pound of oil to five pounds of red lead4 ,the usual manner of painting iron1 etc41 in red lead is to first give a priming coat of pure lead and then a second coat of any colour desired4 ,an excellent second coat is formed of equal parts by weight of red lead and good iron oxide4 ,any finishing coat may be applied4 ,,indian ,,red4--,this is shown by analysis to consist almost wholly of oxide of iron4 ,the paler ,indian red is1 the greater is its tinting strength and the rosier is the tint obtained from it by mixing it with white4 ,indian red should be always tested for fineness and tint4 ,,chromes4 ,there are many shades of chrome yellows sold1 the most usual being lemon1 medium and orange chromes1 sometimes called #a1 #b1 and #c4 ,the other shades are sold under various names1 depending upon the manufacturer4 ,it is advisable that the painter should always have on hand the lighter shades1 as although it might appear at first sight that on mixing the deeper shades with white he would get the same result1 as a matter of fact there is a considerable difference4 ,as noted elsewhere1 chromes must not be mixed with ultramarine4 ,the pale chromes change colour quicker than the darker shades4 ,pale chrome should never be used on fresh plaster1 although orange chromes may4 ,in the deeper shades of chrome orange red is sometimes used as an admixture or adulterant1 but this is not a good stainer4 ,the test for a chrome is tinting strength1 taking care to make a comparison with the same grade of colours1 that is1 light1 medium or orange chrome4 ,fineness is another important test4 ,placing a small quantity on glass and passing a palette knife over it and pressing firmly will detect grit if present4 ,in the lighter chromes it is well to look for the greyness of tone which is objectionable4 ,chromes mix well with white lead and are strong in body4 ,,ochres4--,analysis is of no value in determining the value of an ochre4 ,sometimes chrome yellow is used to tone it up4 ,the colour is an important feature1 as is also the fineness4 ,,blacks4 ,there are a number of blacks on the market1 drop black1 ivory black1 blue black1 vegetable black1 carbon black1 etc4 ,the subject of their tests is a somewhat intricate one1 but its tinting strength can be readily ascertained by mixing with white lead or zinc in the manner already described4 ,they are frequently adulterated with barytes4 ,,blues4 ,prussian blue is one of the most important used by the painter4 ,it is very strong and a little goes a long way4 ,it must be very finely ground or it is likely to settle out4 ,a pure ,prussian blue has a rich bronze appearance when looked at from certain points of view4 ,the tint made by mixing with white should be clear and free from any leaden or gray appearance4 ,some ,prussian blues have a certain red or purplish cast which cannot be removed4 ,these should be avoided1 as if a purple is required it is a simple matter to add a little red to the blue to produce the desired colour4 ,as shown in our samples of paint1 one part in a hundred of good ,prussian blue gives a distinct sky blue4 ,,ultramarine4--,as explained elsewhere1 this colour cannot be mixed with white lead4 ,where it is necessary to make a tint1 zinc white should be employed in preference4 ,,umbers ,,and ,,siennas4 ,the colour should be a rich brown rather than a red cast4 ,in siennas prepared for grainers' use1 it is important that they be transparent rather than opaque4 ,richness and quality of tint should be considered rather than the body4 ,,notes4 ,speaking roughly1 about one-third of the value of a common painting job will be for labour and the rest for material4 99 99 99 99 99 ,a good priming coat for wood may be composed of ten pounds white lead1 two ounces red lead1 two ounces driers1 and four pints of linseed oil4 ,the following coats having about two pints of turpentine instead of an equal quantity of linseed oil and the red lead being omitted4 ,a mixture for removing old paint is made by taking one pound soda and quarter pound quicklime and mixing to the consistency of cream4 ,this is applied to the paint work with an old brush and left for about an hour when it will be found to have softened the paint which will readily wash off4 ,the work may then be washed down with weak vinegar and water4 99 99 99 99 99 ,one gallon of oil varnish may1 for the purposes of calculation1 be taken to cover sixty-four square yards4 99 99 99 99 99 ,seven pounds of ordinary white lead paint may be taken to cover rather more than thirty square yards for the first coat and forty-five yards afterwards4 99 99 99 99 99 ,seven pounds of oxide of iron paint will1 if good1 cover about eighty square yards on iron1 but the quality of oxide varies considerably4 99 99 99 99 99 ,to prevent plaster of ,paris from setting quickly mix with glue water instead of ordinary pure water4 ,this will retard the setting considerably4 ,a ,,good ,,size ,,for ,,plastered ,,walls4--,make two solutions1 the first to consist of one and one-quarter pounds of glue1 dissolved in four gallons of water2 the second to consist of one ounce of borax1 five ounces of washing soda and twenty ounces of powdered rosin added to five quarts of boiling water1 and to be kept boiling and stirred until all is dissolved4 ,to thirty parts by measure of the first solution add one part of the second and boil them together for about one-quarter of an hour2 take from the fire and strain2 when it is ready for use4 ,this size is an excellent one for the purpose4 99 99 99 99 99 ,,walnut ,,stain4--,mix in a quart of hot water a quarter of a pound of ,turkey umber and add two tablespoons of turpentine4 99 99 99 99 99 ,,light ,,oak ,,stain4--,grind fine in water half a pound of raw ,turkey umber and half a pound of ,dutch pink4 ,dilute with one gallon of water and add half a pint of vinegar4 ,when vermilion is used in distemper it is necessary to stir it up now and again as the colour sinks to the bottom4 99 99 99 99 99 ,cleanliness should be the first and foremost rule for every painter4 ,it has been said that if it were not for the flies and the smoke the principal part of the painters' occupation would be gone4 ,it may be taken as a safe rule that all old work should be thoroughly washed down with clean water before repainting4 ,this pays even with stucco or outside cement work4 99 99 99 99 99 ,a good priming coat for work that is to be finished in vermilion is made by mixing bright ,venetian red and white lead with boiled linseed oil4 ,,window ,,glass4 ,,rules ,,as ,,to ,,fractional ,,parts ,,of ,,an ,,inch4 ,,british ,,plate4--,pilkington's 8,glass ,cutter's ,assistant0 gives the following3 ,polished1 ,silvered1 and ,rough ,cast4 ,all fractional parts of inches will be charged as full inches1 e4g41 #aje #eg be reckoned as #ajf #eh4 ,,rolled ,,plate ,,glass4--,every fraction above of an inch is charged as an inch1 e4g41 #dg #bj is reckoned #dg #bj #eh #cb #ei #cc ,,all ,,other ,,kinds ,,of ,,window ,,glass4-- inch and under1 as 2 e4g41 #ad #aj is reckoned as #ad #aj to inch1 as 2 #ad #aj #ad #aj to inch1 as 2 #ad #aj #ad #aj to #a inch1 as #a2 #ad #aj #ae #aa ,,specific ,,gravity4 ,one of the best tests for linseed oil is its weight or specific gravity4 ,the latter term is not so well understood among painters as it might be4 ,a few words of explanation may therefore be given4 ,one hundred gallons of pure water when weighed when the temperature is at #fj deg4 ,f4 weigh exactly #a1jjjlbs4 ,this is taken as the standard of specific gravity for all liquids1 and a scale or hydrometer is based upon it4 ,one hundred gallons of boiled linseed oil at #fj degs4 ,f4 weigh only #idjlbs41 and the specific gravity of linseed oil is therefore said to be #idj4 ,as it would be practically impossible to weigh as much as #ajj galls4 of the liquid which it was desired to test for specific gravity1 an instrument called the hydrometer is used for the purpose4 ,this floats in the liquid and bears a scale so that a portion of it stands out of such liquid4 ,when put in pure water1 the indicator would show1 of course1 at #a1jjj1 and in boiled linseed oil #idj1 and in raw linseed oil it would show about #ibb1 which is the specific gravity of raw oil4 ,cotton seed oil raw is the same as raw linseed oil1 namely #ibb2 colza oil is #iae4 ,in actual practice the specific gravity of oil is taken by means of a bottle or flask which is weighed when full of oil and then compared with the weight of the same bottle full of water4 ,illustration ,,chapter ,,xii4 ,,recipes1 ,,tables1 ,,hints ,,and ,,notes ,the author trusts that he has made it clear to the reader that the subject of paint and colour mixing is far more comprehensive than might at first sight appear4 ,yet it is of such great importance that every house painter worthy of the name should make himself acquainted with it1 and1 unless he be colour blind1 he can do so without difficulty if he will only take the trouble to make a number of tests and experiments4 ,in 8putting on10 i4e41 engaging the services of journeyman1 the master painter will find1 as a rule1 that only about one in twenty has any knowledge of colour mixing1 yet these men could1 if they would only do so1 easily make themselves at least fairly proficient in the subject by devoting their spare time to making various mixtures and using a box of ordinary artists' oil colours for the purpose4 ,a very good box can be purchased for about ten shillings4 ,having given some practical tests for colours1 we may now add one or two for turpentine4 ,,to ,,test ,,the ,,purity ,,of ,,turpentine4--,it is of considerable importance that turpentine used for painting should be quite pure4 ,to test the purity in a practical way pour a few drops on a sheet of white writing paper2 if it is pure the mark will evaporate in a few minutes1 leaving the paper quite clean4 ,if1 however1 paraffin oil has been added to the turpentine it will leave a greasy mark on the paper1 which will not disappear for several hours or even days4 ,turpentine is sometimes adulterated with benzine4 ,the test above will not detect this1 as the benzine will not leave a greasy mark4 ,the evaporation1 however1 will be more rapid than when the turpentine is pure4 ,when turpentine is very old1 it becomes 8gummy0 or thick1 and is unsuitable for mixing with paint4 ,this condition is indicated by a greasy mark left on writing paper when a few drops are poured upon it4 ,another very simple test for the purity of turpentine is to place a sample in a small white bottle and shake vigorously1 carefully observing the time that it takes the bubbles that arise from the agitation to disappear4 ,if the turpentine is adulterated with paraffin oil the bubbles will hold longer than when it is pure4 ,the best plan is to have a bottle containing pure turpentine and another containing the suspected sample1 and to shake up both together1 comparing the rapidity with which the bubbles disappear4 ,paraffin oil is also sometimes detected by smell3 pour a couple of drops on the palm of the hand1 rub the two hands briskly together1 when the characteristic smell of paraffin will be easily detected if any considerable amount be present4 ,turpentine is sometimes adulterated with rosin spirit1 and this can only be detected by means of analysis4 ,,linseed ,,oil4--,to ascertain with absolute certainty whether a sample of linseed oil is pure or not is by no means easy1 and can only be done by aid of chemistry4 ,there are various methods by which the adulteration can be ascertained1 but we hesitate to print them here1 because they may prove misleading to the uninitiated4 ,the experienced painter has two tests of his own1 viz41 smell and the working of the oil1 and if these lead him to suppose it is adulterated his only safe plan is to obtain the services of a competent chemist4 ,we next reach a consideration of the different qualities of the principal pigments1 and can best show these by means of tables4 ,,pigments4 ,,some ,,useful ,,tables4 ,,pigments ,,liable ,,to ,,change ,,under ,,the ,,influence ,,of ,,sulphuretted ,,hydrogen1 ,,air1 ,,and ,,moisture3 ,yellow4--,turner's yellow1 chrome yellow1 mineral yellow1 ,naples yellow4 ,white4--,cremintz white1 flake white1 pearl white4 ,red4--,red lead1 purple red1 iodine scarlet4 ,green4--,verdigris1 ,scheele's green1 emerald green1 mountain green4 ,blue4--,prussian blue1 ,antwerp blue4 ,orange4--,orange chrome4 ,,pigments ,,little ,,liable ,,to ,,change ,,under ,,the ,,influence ,,of ,,sulphuretted ,,hydrogen1 ,,air ,,and ,,mixture3 ,white4--,zinc white1 constant white1 tin white4 ,red4--,vermilion1 red ochre1 ,indian red1 madder lakes4 ,yellow4--,yellow ochre1 barium chromate1 zinc chromate1 aureolin1 raw sienna4 ,green4--,chrome green1 cobalt green4 ,blue4--,ultramarine1 smalt1 ,thenard's blue4 ,brown4--,vandyke brown1 raw umber1 burnt umber1 manganese brown1 sepia4 ,black4--,ivory black1 lamp black1 ,indian ink1 graphite4 ,orange4--,orange vermilion1 burnt sienna4 ,,pigment ,,liable ,,to ,,deterioration ,,when ,,in ,,contact ,,with ,,white ,,lead1 ,,chrome ,,or ,,other ,,lead ,,pigment3 ,yellow4--,yellow orpiment1 king's yellow1 ,indian yellow1 gamboge4 ,red4--,iodine scarlet1 cochineal1 carmine4 ,orange4--,golden antimony sulphide1 orange orpiment4 ,green4--,sap green4 ,blue4--,ultramarine4 ,,pigments ,,which ,,are ,,little ,,affected ,,by ,,heat1 ,,and ,,which ,,may ,,be ,,employed ,,when ,,the ,,material ,,has ,,to ,,stand ,,fire3 ,white4--,tin white1 barium white1 zinc white4 ,red4--,red ochre1 ,venetian red1 ,indian red4 ,yellow4--,naples yellow1 antimony yellow4 ,blue4--,smalt and royal blue1 ultramarine4 ,green4--,chrome green1 cobalt green4 ,orange4--,burnt sienna1 burnt ochre4 ,brown4--,burnt umber1 manganese brown4 ,black4--,graphite1 mineral black4 ,,colours ,,that ,,may ,,be ,,used ,,with ,,lime3 ,white4--,permanent white1 i4e41 baryta white1 gypsum1 zinc white4 ,red4--,the vermilions1 light red1 ,venetian red1 ,indian red1 madder lakes4 ,orange4--,cadmium1 orange chrome1 ,mars orange1 burnt sienna1 burnt ,roman ochre1 light red4 ,yellow4--,aureolin1 cadmium yellow1 lemon yellow1 ,naples yellow1 ,mars yellow1 raw sienna1 yellow ochre1 ,roman ochre1 transparent gold ochre1 brown ochre1 ,indian yellow1 ,oxford ochre4 ,green4--,oxide of chromium1 transparent oxide of chromium1 viridian1 emerald green1 malachite green1 verdigris1 terre verte1 cobalt green1 chrome green4 ,blue4--,genuine ultramarine1 artificial ultramarine1 new blue1 permanent blue1 cobalt blue1 cerulean blue1 smalt4 ,purple4--,purple madder1 ,mars violet4 ,brown4--,bone brown1 bistre1 ,prussian brown1 burnt umber1 ,vienna brown1 ,vandyke brown1 ,cologne earth1 asphaltum1 ,cassel earth1 manganese brown4 ,citrine4--,raw umber1 ,mars brown4 ,blacks4--,ivory black1 lamp black1 blue black1 charcoal black1 ,cork black1 ,indian ink1 black lead1 drop black1 plumbago4 ,,brushes4 ,we think it well to include here some information concerning brushes1 but may first give a brief description of the way in which they are made1 taking the firm of ,g4 ,b4 ,kent ,sons1 ,ltd41 as an example1 as the author had the pleasure of going over their factory some time since4 ,the following is his account written for 8,the ,decorators' ,magazine03-- ,a superficial observer may be inclined to think there is no particular advantage to the painter and decorator in possessing a knowledge as to how the tools he uses are made4 ,yet such a knowledge may help him considerably in judging as to the quality of those tools1 and it will be at once acknowledged that an ability to discriminate in this respect is of considerable value4 ,for brushes vary greatly in quality1 far more so1 perhaps1 than our readers may imagine possible4 ,everyone knows that there are good brushes that cost more than a trifle1 and rubbishy goods1 chiefly of foreign make1 that can be bought for1 perhaps1 half the amount4 ,probably there is not a reader who does not fully understand that it is far better in the end to buy the best quality brushes1 that is1 that it is cheaper to pay a higher price1 because the work with such brushes can be done quicker and better than it can by the inferior ones1 and also because the superior quality lasts much longer4 ,those things are well understood among most painters1 and even if some of them will use cheap stainers and lose money in consequence1 they have1 at least1 learned the lesson of the necessity of using only best quality tools4 ,but it is not a comparison between high grade and low grade brushes that we now want to make1 it is rather to direct attention to the difference that exists in the actual quality of so-called first-class tools of different makes4 ,it is this difference than can best be understood after inspecting the process of brush making1 and it must be acknowledged that adulteration can be carried on in the manufacture of brushes to a considerable extent4 ,take a common ground brush as an example4 ,the actual brush part should consist wholly of hog's bristles1 for there is nothing yet discovered that gives better results4 ,yet there are on the market many brushes marked 8pure bristle0 which really contain more or less a large proportion of horsehair or other material which makes a poor substitute1 but which cannot be easily detected1 in fact1 it is the difficulty of detection which has probably given rise to the objectionable adulteration referred to4 ,the objection to horsehair in a painter's brush is that it is flabby and without spring1 but its presence in adulterating brushes can be understood when it is said that approximately the price of horsehair is #as4 #i;d4 to #bs4 #b;d41 and bristles #hs4 to #is4 per pound4 ,it certainly requires an expert to state positively whether horsehair is included or not1 but there are certain signs that1 with care1 will determine the matter1 at least to a certain extent4 ,the real bristle has its end split--called a 8flag0 end--the root end is considerably larger and cannot be mistaken4 ,the spring or elasticity is another indication of the bristle4 ,the horsehair1 on the other hand1 is the same size both ends1 and has no flag end2 if the suspected bristles be viewed under a strong reading glass the difference can be told without a great deal of difficulty4 ,at the works of ,messrs4 ,g4 ,b4 ,kent ,sons1 ,ltd41 the author was shown how suspected brushes sent out had been dissected and the various parts divided up1 and it was surprising to see how much horsehair could be included in a brush without giving it any out-of-the-way appearance4 ,there were little piles of horsehair of different lengths1 while the bristles were all sorted into other piles1 each of different lengths4 ,photographs of the brushes that have been dissected in this way have been distributed through the trade1 and they have no doubt proved of use in showing painters that adulteration in brushes is carried on to almost as great an extent as it is in paint materials4 ,no adulteration whatever in painting brushes is permitted in the factory of ,g4 ,b4 ,kent ,sons4 ,certainly the brush department in any brush manufactory1 which is of the most importance is the bristle room1 and it was to this that the author was first taken4 ,there were bristles of many different kinds1 most of them tied up into neat bundles ready to be afterwards dealt with4 ,for instance1 ,siberian ,okatka1 and perhaps most important to my readers because they make the best paint brushes1 having an excellent spring and being stiff4 ,they are very costly and are rarely used by themselves1 nor is it necessary1 because other varieties of bristles may be mixed in1 and it is this mixing or blending that constitutes so important a part in the brush manufacturer's art4 ,indeed1 the purchase and blending takes years of careful study to learn4 ,one class of bristle is introduced into the mixing to give strength1 another straightness1 another solidity1 another colour1 and it is the judicious blending1 the knowledge of which is acquired only by much experience1 which makes a first-class brush for first-class work1 and having the requisite spring and durability and the band of which will not burst4 ,the process of dividing the bristles into uniform lengths is termed 8dragging10 a very interesting process which requires considerable expertness on the part of the operator4 ,a handful of bristles1 after being mixed1 is placed against a gauge1 and the operator1 grasping firmly those bristles which project beyond a mark which indicates the required length1 withdraws them with his thumb and finger and places them aside4 ,the whole bundle having been gone over in this way1 a second dragging to the next mark is made1 and so on until the bristles are arranged in little piles of uniform lengths4 ,the operation of 8mixing0 is also interesting4 ,this is done in order to obtain an uniform colour and quality in the bristles4 ,first1 all the bristles of different colours are piled on the top of one another1 varying considerably in colour in the different layers from top to bottom4 ,perhaps there will be one layer nearly white and another nearly black4 ,if these were all mixed up indiscriminately to make a brush1 the result would be a very patchy appearance that would not be liked4 ,the object1 therefore1 is to have an equal admixture of black and white throughout4 ,a workman takes in his hand a portion of the bristles from top to bottom1 cutting through all at once4 ,these he holds in his two hands and #8jabs'--for the want of a better word--through a steel comb which is fixed upright before him4 ,this mixes the different coloured bristles1 and at the same time pulls out inferior or woolly parts that may have been left in4 ,as each handful of bristles is dressed in this way it is laid aside1 and when the whole is completed the second dressing is gone through in the same way as the first1 the result being that the admixture is perfect1 and the appearance of any one part of the pile is exactly the same as that of the other4 ,it is essential also that all the bristles should lie the same way1 and1 as in the rough an uncertain small proportion of the bristles arrive with their heads the wrong way1 to extract them another small comb1 termed an #8engine1' with teeth very close together1 is used2 the #8flag' end of the handful is combed over this1 and the roots of the #8turned' hairs catch in the comb4 ,illustration ,illustration ,,old ,,rose ,,moss ,,grey ,illustration ,illustration ,,ivy ,,green ,,warm ,,grey ,illustration ,illustration ,,green ,,slate ,,lead ,illustration ,illustration ,,sea ,,foam ,,silver ,,grey ,illustration ,illustration ,,apple ,,green ,,stone ,illustration ,illustration ,,slate ,,middle ,,stone ,illustration ,illustration ,,granite ,,dark ,,oak ,illustration ,illustration ,,ash ,,grey ,,ivory ,it will be unnecessary to describe in detail how every brush is made1 but an ordinary ground brush will serve as an example4 ,the actual manufacture is not difficult4 ,first the bristles are carefully weighed out so that every brush of the same grade has exactly the same quantity of bristle in it as a corresponding brush2 great care being taken not to disturb the way in which the bristles lie4 ,they must all point one way1 and naturally they have a certain bend4 ,the outside of the brush is usually made of white bristles1 while the inside is grey and yellow4 ,this is almost a universal rule1 for although the inside bristles are of equal spring to those outside1 still trade demands white bristles outside and has them4 ,the reader will understand that the bristles that are to form the ground brush about to be made are lying on the scale1 these having been weighed they are taken off1 the white bristles being underneath1 so as to form the outside of the brush4 ,the workman takes all the bristles carefully1 but firmly1 in both hands1 and turns the bristle round his thumb in such a way that the bend of the bristles all turn inward towards the centre1 and the white bristles or #8cappings' lie in an even rim round the rest1 and the #8knot' is then tied round with string4 ,the knots are then dipped in hot cement and kept warm standing upon a hot plate4 ,the next process is #8driving1' which consists in forcing the handle through the bristles1 which has been previously inserted in its binding1 and this tightens the brush by compression4 ,varnish brushes1 as a rule1 are shaped in a manner somewhat similar to the method of making artists' pencils1 that is to say1 the wedge shape is produced by placing the bristles into a small circular box1 the bottom of which is concave4 ,hence1 it will be seen that the bristles1 if even they are all of the same length1 have the necessary chisel-edge for a varnish brush4 ,pegged brushes are made under a patent of ,messrs4 ,g4 ,b4 ,kent ,sons4 ,speaking roughly1 it consists of driving pegs into the back woodwork of the brush so as to throw the parts into greater compression and to hold the bristles tighter4 ,after the brush is made1 the bristles are thoroughly scoured on a stone with soap and water4 ,after the brush is finished1 the bleaching chambers are reached where1 by means of sulphurous fumes1 the bristles are bleached to the required degree of whiteness4 ,,the ,,care ,,of ,,brushes4--,however good a brush may be it will soon be ruined unless it is properly treated when out of use4 ,the following hints will suffice as a guide in this respect3-- ,writing ,pencils1 etc4--,wash in turpentine until quite clean1 and if they are not to be used for some time dip in olive oil and smooth from heel to point4 ,illustration3 ,,red ,,sable4 ,stipplers4--,wash thoroughly in pure soap and hot water rinsing with cold water4 ,place point downwards to dry4 ,illustration3 ,,stippler1 ,,with ,,bridge ,,handle4 ,varnish ,brushes4--,the best method of keeping varnish brushes1 in the opinion of the author1 is to suspend them in the same description of varnish as that they are used for4 ,as this is not always possible boiled oil may be used instead4 ,illustration3 ,,varnish ,,brush--,,galvd4 ,,wire ,,bound4 ,paint ,brushes4--,mr4 ,,ernest ,n4 ,,kent gives the following instructions in 8,specifications03-- ,illustration3 ,,sash ,,tool4 ,illustration3 ,,flat ,,oval ,,ground ,,brush4 ,brushes made for ,use in ,colour should first be soaked well in water to swell the bristle in the binding4 ,this applies also to whitewash brushes which are bound either by wire or leather4 ,a ,brush after ,use should be thoroughly cleansed out in turps or soap and water4 ,if left in water any length of time they are liable to twist1 and the bristles lose their elasticity4 ,a ,brush made for ,paint should not be used in varnish1 the spirit of which dissolves the cement with which it is set1 and loosens the bristles4 ,when a ground brush has been well worn down in colour1 it may1 however1 be used in varnish4 ,a ,brush made for ,varnish must on no account be put into water as the water destroys the cement4 ,varnish ,brushes when not in use should be suspended in either varnish or oil1 the brush not resting on the bristles4 ,no brushes should on any account be kept in turpentine4 ,stippling ,brushes should be well cleaned and dried after use1 the bristle being carefully kept from crushing2 a box in which they can be slid1 allowing the bristle to hang downwards is recommended4 ,should a ,brush become quite hard with ,paint it should be soaked for twenty-four hours in raw linseed oil1 after which time in hot turpentine4 ,,some ,,useful ,,recipes4 ,a ,,recipe ,,for ,,terebine4--,take #blbs4 of ground litharge1 #blbs4 of red lead1 #alb4 of sulphate of manganese1 lb4 of sugar of lead4 ,mix these to a paste with light coach japan1 put the paste into a gallon jar and add half a gallon of pure turpentine4 ,let this stand for three days1 stirring occasionally1 then pour off the resultant liquid which forms first-class terebine4 ,you can afterwards pour in another half gallon of turps1 well stir and pour off as before4 ,this can be done a third time when the chemicals will have become exhausted4 ,,special ,,paints ,,for ,,special ,,purposes4 ,,iron ,,cement4--,a cement suitable for filling up defects in cast iron is made by mixing one part of bone black1 one part of powdered gum arabic1 one part iron dust or very fine iron filings1 and two parts of plaster of ,paris4 ,this powder is made up into a stiff body with water1 but only sufficient for immediate use should be made1 as it sets very rapidly4 ,in time it becomes as hard as iron4 ,,buff ,,paint4--,the following mixture will produce an excellent buff paint for ordinary purposes4 ,grind in raw linseed oil #c;cwt4 of white lead1 #d;cwt4 of grey barytes1 #hlbs4 of genuine red oxide1 #ajjlbs4 of ,j4,f4,l4,s4 ochre1 and #hlbs4 burnt ,turkey umber4 ,,torbay ,,paint1 ,,imitation4--,grind together #e;cwt4 of grey barytes1 #a;cwt4 ,paris white1 #d;cwt4 of ,french ochre1 and #dlbs4 of genuine red oxide of iron4 ,,drum ,,paint4--,dissolve rosin in an equal bulk of naphtha and colour with lamp black for black1 celestial blue for blue1 ,venetian red for red1 and so on4 ,a little oil added will be of assistance4 ,,bronze ,,paint ,,tins1 ,,dipping ,,solution ,,for4--,dissolve asphaltum in spirits of turpentine and thin down to the required consistency4 ,,floor ,,paints4 ,this class of paint is much used in ,america1 and they are made in a variety of colours4 ,the necessary qualities are great durability under wear4 ,three coats are usually given1 but it is very necessary that sufficient time be allowed to elapse between the application of each coat to enable a thorough drying to be effected4 ,the thinners for each recipe will be the same1 namely1 gloss oil twenty gallons1 linseed oil eight gallons1 turpentine japan six gallons1 benzine japan two gallons1 turpentine four gallons1 benzine three gallons1 making together #eb gallons4 ,the pigments will be as follows3 ,,buff4--,yellow ochre1 #agelbs42 whiting1 #belbs42 zinc1 #belbs42 ,portland cement1 #clbs4 ,,dust ,,colour4--,zinc white1 #agelbs42 white lead1 #belbs42 whiting1 #ejlbs42 lamp black1 #alb42 yellow ochre1 #hlbs4 ,,lead ,,colour4--,the same as dust colour1 excepting that #elbs4 of lamp black should be used and #clbs4 of yellow ochre4 ,,terra-,,cotta4--,yellow ochre1 #ajjlbs42 ,venetian red1 #aglbs42 zinc1 #belbs42 whiting1 #gjlbs4 ,,maroon ,,or ,,indian ,,red4--,indian red1 #ajjlbs42 ,venetian red1 #ejlbs42 zinc1 #belbs42 whiting1 #belbs4 ,,light ,,brown4--,yellow ochre1 #ajjlbs42 whiting1 #gjlbs42 mineral brown1 #aelbs42 zinc1 #belbs42 ,venetian red1 #flbs4 ,,dipping ,,paints4 ,this class of paints is much used in the ,united ,states1 the article that is to be painted being dipped into the paint so as to save the labour of applying it with a brush in the ordinary manner4 ,,black ,,dipping ,,paint4--,in this case two separate dippings are required1 first with the following mixture which acts as a primer4 ,take #ajjlbs4 of dry ground slate1 #ajjlbs4 of whiting1 #ejlbs4 of zinc white1 #b gallons of linseed oil1 #bj gallons of gloss oil1 and #e gallons of benzine4 ,these being properly mixed form a priming coat which dries fairly quickly4 ,when dry dip the article into a paint made of the following mixture3 #belbs4 of drop black1 #c gallons of grinding japan1 half gallon of turpentine1 #g gallons gloss oil1 and one gallon of turpentine4 ,,yellow ,,dipping ,,paint4--,a primer is made by grinding together #adlbs4 of golden ochre1 #a gallons of grinding japan1 #b gallons of gloss oil1 and half gallon of turpentine4 ,the paint is made of #cjlbs4 of medium chrome yellow1 #b gallons of grinding japan1 #a gallons of turpentine1 and #g gallons of gloss oil4 ,this makes #ab gallons of paint4 ,,red ,,dipping ,,paint4--,grind together #hjlbs4 of bright scarlet or ,turkey red1 #hjlbs4 best ,paris white1 #ch gallons gloss oil1 #d gallons of benzine1 #b gallons of linseed oil1 and #b gallons of benzine japan4 ,this makes #ej gallons of paint4 ,,machinery ,,dipping ,,paint4--,grind together #ajjlbs4 of dry ground slate1 #belbs4 zinc white1 #a gallon of linseed oil1 #b gallons of gloss oil1 and #a gallon of japan drier4 ,,dipping ,,white4--,grind #ajjlbs4 of zinc white with #ijlbs4 of ,paris white in #b gallons of linseed oil1 #cb gallons of gloss oil1 and #aa gallons of benzine4 ,this makes #ej gallons of paint4 ,the above recipes for dipping paints have been modified from recipes which originally appeared in 8,drugs1 ,oils and ,paints10 of ,philadelphia4 ,,paint ,,for ,,iron4 ,there has been a very considerable amount of difference of opinion as to the best paint for iron4 ,an elaborate course of experiments were made and the results reported in the columns of the 8,engineer0 some time since4 ,the results of these experiments showed that no rust whatever resulted from either of the following mixtures1 which may therefore be recommended as good paints for iron4 ,,red ,,lead ,,paint4--,red lead1 #hh parts2 raw linseed oil1 #ab parts4 ,,cheaper ,,red ,,lead ,,paint4--,cheaper red lead1 #de parts2 barytes1 #de parts2 raw linseed oil1 #aj parts4 ,,red ,,lead ,,paint1 ,,cheaper ,,still4--,very cheap red lead1 #bb parts2 barytes1 #ff parts2 raw linseed oil1 #ab parts4 ,,vermilionette ,,paint4--,barytes1 #cc parts2 deep vermilionette1 #dd parts2 pale vermilionette1 #ad parts2 raw linseed oil1 #g parts4 ,,permanent ,,red ,,paint4--,permanent red1 #hh parts2 raw linseed oil1 #g parts4 ,,putty ,,recipes4 ,although an ordinary putty is made of dry whiting with raw linseed oil1 a modification of this mixture is often necessary and desirable4 ,,soft ,,putty4--,one pound of white lead mixed with #ajlbs4 of whiting and ground with the necessary quantity of boiled linseed oil makes an excellent putty4 ,about half a gill of best olive oil or cotton seed oil added1 prevents the white lead from hardening and preserves the putty in a state sufficiently soft to adhere at all times4 ,,export ,,putty4--,the above recipe answers for putty that is to be sent abroad1 the cotton oil preventing it from going hard4 ,sometimes the white lead is omitted4 ,,putty ,,for ,,exposed ,,positions4--,a very strong putty is made of boiled oil and whiting and is suitable for exposed positions1 such as skylights4 ,it is not adapted for keeping1 as it gets too hard4 ,putty for inside work that is ground in raw linseed oil may be made by adding a little white lead4 ,,hard ,,putty4--,mix dry red lead with boiled oil and turpentine varnish4 ,this may be used immediately1 as it soon gets hard4 ,,french ,,putty4--,boil #g parts of linseed oil with four parts of brown umber for two hours4 ,then add #e parts of whiting and #aa parts of white lead and mix the whole4 ,this putty is very durable and adheres well to wood4 ,,imperishable ,,putty4--,various recipes for a so-called imperishable putty have been given4 ,the one published above1 named ,french putty1 is very durable1 but it may be varied by boiling together for two hours #clbs4 of linseed oil and #blbs4 of brown umber4 ,stir in one ounce of beeswax1 take off the fire1 and mix #blbs4 of whiting and #elbs4 of white lead4 ,,wood ,,and ,,glue ,,putty4--,dissolve glue in water and add as much very fine sawdust as may be required4 99 99 99 99 99 ,,blackboard ,,paint4--,mix #e oz4 of lamp black and #c oz4 of superfine flour of emery in half a gallon of shellac varnish or patent knotting4 ,this gives a fine slating4 ,shellac varnish may be made by dissolving #alb4 of orange shellac in half a gallon of methylated spirits4 ,another recipe is3 ,dissolve #alb4 shellac in one gallon of methylated spirits4 ,when dissolved add #alb4 best ivory black1 #e oz4 of best flour of emery4 ,mix and put in a stoppered bottle1 shake well before using4 ,in applying this it must be done rapidly1 and only a little of the paint should be poured out at a time1 as the spirit rapidly evaporates4 ,in applying it to old blackboards one coat is usually sufficient4 ,,whitewash ,,for ,,poultry ,,houses4--,in order to prevent the breeding of vermin the whitewash used for poultry houses should be mixed with a little gas tar--not coal tar4 ,it may be obtained at any gas works1 and should be used in the proportion of about a quarter of a pint to the pailful of ash4 ,to bind the whitewash1 flour made into a paste with hot water may be used1 and is better than glue size as it does not decay and will not injure the fowls4 ,,some ,,useful ,,hints ,,on ,,paints ,,and ,,painting4 ,an excess of driers in paint often gives rise to blistering4 99 99 99 99 99 ,boiled oil1 if of good quality1 will1 when applied to glass1 dry in #bd hours4 99 99 99 99 99 ,tar should always be applied hot4 99 99 99 99 99 ,dark boiled oil may be pure1 but it will not produce good work4 99 99 99 99 99 ,a little varnish added to paint1 often improves both its appearance and durability4 99 99 99 99 99 ,in painting over bad stains1 tar1 etc41 a coat of shellac varnish will usually give a good surface on which the paint will dry4 99 99 99 99 99 ,ochre makes a good and cheap priming coat1 if it is very fine4 99 99 99 99 99 ,to test patent driers1 mix it with raw linseed oil1 in the proportion of one to three1 and apply to glass4 ,if still tacky at the end of #bd hours1 the driers may be looked upon as being of inferior quality4 99 99 99 99 99 ,varnish brushes are best kept1 when not in use1 by being suspended in the same kind of varnish in which they are ordinary used4 99 99 99 99 99 ,for thinning gold size1 use a little boiled oil1 not turpentine4 99 99 99 99 99 ,the practical painter should have an 8educated0 nose--that is1 one that can at once detect adulteration in oil and turpentine4 99 99 99 99 99 ,to mix varnishes is sometimes necessary1 when the particular kind required is not at hand4 ,but it is always a bad plan1 and is never desirable4 ,when it must be done1 do not use the varnish for a few days4 99 99 99 99 99 ,an even temperature is of the greatest importance in obtaining good results from varnish4 ,coach painters' shops are usually kept exactly at the same heat1 while dust and draughts of cold air are rigidly excluded4 ,this is one of the reasons why coach painters are able to turn out such fine work4 99 99 99 99 99 ,success in repainting ironwork largely depends in removing all rust1 scale1 etc4 ,for this purpose1 wire brushes should be used1 as they greatly facilitate the operation4 99 99 99 99 99 ,luminous paint which1 if exposed to the light during the day1 will give off sufficient light at night time to enable one to see the time by a watch1 may be had to last several years1 if protected by a piece of glass from the weather1 and it is extremely useful for certain positions where it is not desired to burn a light4 99 99 99 99 99 ,fineness of grinding is a most important quality of all tinting colours1 but in none more so than in the umbers and siennas prepared for grainer's use4 ,it is of equal importance that the tone and colour be pure4 ,sometimes this class of colours are toned up with chrome1 but this is objectionable1 and the right tone of sienna can only be expected when the correct quality of crude earth is selected4 99 99 99 99 99 ,tube colours are now becoming so popular among the highest class painters and decorators that the use of dry colours will soon be considered obsolete4 ,when the colours are put in tubes1 waste is almost wholly prevented1 while their use keeps the colours moist for a considerable time4 99 99 99 99 99 ,two coats of patent knotting or shellac varnish may be given to cover stains1 damp spots1 or other work which will not take the paint4 ,even tar spots thus treated may be neutralized4 99 99 99 99 99 ,grained work should never be varnished until after #f or #g days from the time it is finished4 ,this delay will render the surface much more durable than it would be if varnished immediately4 99 99 99 99 99 ,spring and summer are not the best for painting1 as many suppose4 ,the autumn is better1 as the work is then1 as a rule1 thoroughly dry and in the best condition to take the paint4 99 99 99 99 99 ,to obscure window glass1 the best plan is to apply a coat of matting varnish1 which is specially made for the purpose4 ,it looks very neat1 and effectively obscures the glass1 although it shuts out very little of the light4 99 99 99 99 99 ,a rough way of testing a brush is to pluck a few bristles and to burn them by applying a match4 ,if they are true bristles they will give off an unmistakable odour1 will frizzle up while burning1 but will not leave an ash4 ,fibre1 on the other hand1 burns without smell1 and leaves an ash4 99 99 99 99 99 ,embossing on glass is usually done by means of hydrofluoric acid4 ,the design is pounced or sketched on with ,french chalk4 ,then every part that is not to be embossed is painted over with a special ,brunswick black4 ,a little wall of tallow is then built all around the pane of glass laid flat1 and the acid is gently poured on4 ,in about half an hour it has eaten into the glass sufficiently to form a well-defined pattern4 ,the acid is poured off into a guttapercha bottle1 the tallow removed1 and the surface washed with clean water4 ,the black is softened with turpentine and removed by means of an old chisel4 99 99 99 99 99 ,a priming coat can never prove satisfactory unless it is composed of very fine materials4 ,white lead1 red lead1 or white lead and ochre are among the best primers4 99 99 99 99 99 ,the best tests of linseed oil for the practical man are the senses of smell and taste4 ,the analysis of linseed oil is a very difficult process1 and every oil dealer should educate his senses by constant practice and recognise the pure oil immediately when he smells or tastes it4 ,adulteration in boiled oil is more difficult to detect than it is in raw oil4 99 99 99 99 99 ,never mix two different kinds of driers in a paint2 they may re-act upon one another and actually retard the drying of the paint4 99 99 99 99 99 ,too much driers in paint will destroy its durability and may affect the gloss4 99 99 99 99 99 ,messrs4 ,,wilkinson1 ,,heywood ,,clark1 ,,ltd41 #g1 ,caledonian ,road1 ,london1 ,n41 have favoured the author with samples of their colours1 which he finds1 after examination1 to be of a high order of excellence4 ,their white oil varnish is also highly recommended1 being almost colourless and not turning yellow4 99 99 99 99 99 ,in preparing plaster figures for showing samples of gold paint it is necessary first to give a heavy coat of shellac to prevent absorption4 99 99 99 99 99 ,perhaps not one painter in a thousand knows that water glass 7silicate of soda7 makes an excellent size for wall paper4 ,it will not wash up the pattern1 and it forms a foundation for the paper varnish that makes it stand out admirably4 99 99 99 99 99 ,the priming coat for new pine may be made by mixing a stone of white lead in oil with an equal quantity of patent driers4 ,about one pound of turpentine and a pound and a half of raw linseed oil will be required4 99 99 99 99 99 ,,the ,,harmony ,,of ,,colour4--,as already stated we cannot spare room to deal with this important subject1 but may give one or two notes on the subject4 ,the following is a useful list taken from 8,colour10 by ,,george ,h4 ,,hurst4 ,a somewhat similar list will be found in 8,colour0 by ,,professor ,a4 ,h4 ,,church4 ,the names and addresses of the publishers of these two books are given on another page4 ,,harmony ,,of ,,two ,,colour ,,combinations4-- ,crimson and orange ,bad4 yellow ,inferior4 green ,strong1 but harsh4 blue ,good4 violet ,bad4 gold-yellow ,good4 ,scarlet and yellow ,bad4 green ,inferior4 greenish-blue ,good4 ,scarlet and blue ,good4 violet ,bad4 ,orange and yellow ,poor4 yellow-green ,fair4 green ,strong-poor4 green-blue ,fair4 blue ,good4 violet ,strong-good4 ,orange-yellow and crimson ,poor4 scarlet ,poor4 green ,bad4 blue-green ,bad4 green-blue ,fairly good4 blue ,excellent4 violet ,good4 ,yellow and crimson ,poor4 green ,bad4 blue-green ,very bad4 blue ,only fair4 violet ,very good4 ,green and blue ,very poor4 violet ,moderate4 red ,good4 ,,list ,,of ,,useful ,,books4 ,the author has thought it might be of service to his readers to include a list of books which would probably be useful to the purchaser of this work4 ,the list below includes the most modern and up-to-date works1 together with their prices and publishers4 ,a very brief description is appended4 ,,painting ,,decorating1 by ,walter ,j4 ,pearce1 second edition1 #aijb4 ,price1 #abs4 #f;d4 ,published by ,chas4 ,griffin ,co41 ,ltd41 ,london4 ,this is a book of #cab pages and several coloured plates4 ,the first edition was published in #ahih1 and it contains information on every branch of house painting and decorating4 ,it is the work of a practical painter1 who is also an artist1 and who has lectured on the subject at the ,manchester ,technical ,school for several years past4 ,the book is highly recommended4 ,,painters' ,,colours1 ,,oils ,,varnishes1 a ,practical ,manual by ,george ,h4 ,hurst1 ,f4,c4,s4 ,this work contains over #ejj pages4 ,the third edition was published in #aija by ,chas4 ,griffin ,co41 ,ltd41 ,exeter ,street1 ,strand1 ,e4,c4 ,the book contains detailed information of the most practical and thorough character concerning all pigments1 colours1 colour and paint machinery1 paint vehicles1 such as paint oils1 turpentine1 etc41 driers and varnishes4 ,as a manual treating of painters' materials it will be found most useful to painters who desire to know the properties of the materials they use4 ,,prang',s 8,,standard ,,of ,,colour40 ,this work is very useful to colour mixers4 ,it consists of seven plates1 each plate consisting of #afh colours1 tints or hues4 7,arthur ,ackerman1 ,regent ,street1 ,s4,w47 8,,house ,,painting1 ,,graining1 ,,marbling ,,and ,,sign ,,writing10 by ,ellis ,a4 ,davidson4 ,this book comprises #i coloured plates of wood and marbles1 #aej wood engravings and a full treatise on the process of house painting1 sign writing1 etc4 7,crosby1 ,lockwood ,son47 8,,chemistry ,,of ,,paints ,,and ,,painting10 by ,professor ,a4 ,h4 ,church1 published by ,seeley ,co41 ,gt4 ,russell ,street1 ,w4,c4 ,this is a reliable and exhaustive treatise on pigments1 oils1 varnishes and other materials used by artists4 8,,pigments1 ,,paint ,,and ,,painting10 by ,george ,terry1 published by ,messrs4 ,e4 ,f4 ,n4 ,spon1 ,ltd41 ,london1 #gs4 #f;d4 8,,manufacture ,,of ,,paints10 by ,j4 ,cruickshank ,smith1 ,b4,s4,a41 published by ,scott1 ,greenwood ,co41 ,london1 #gs4 #f;d4 8,,colour40 ,a handbook of the theory of colour by ,george ,h4 ,hurst1 ,f4,c4,s41 with #aj coloured plates and #bb illustrations4 ,published by ,scott1 ,greenwood ,co41 ,london1 #gs4 #f;d4 8,,colour40 ,a text book of modern chromatics1 with application to art and industry1 by ,professor ,ogden ,rood1 #crd edition1 #es4 8,,colour40 ,an elementary manual for students1 with #f coloured plates1 by ,professor ,a4 ,h4 ,church4 ,published by ,cassell ,co4 8,,the ,,modern ,,wood ,,finisher10 by ,f4 ,maire4 ,this is a thoroughly practical little work on ,wood ,finishing in all its branches4 ,price #bs4 ,published by 8,the ,western ,painter10 ,journal ,building1 ,chicago1 ,ill41 ,u4,s4,a4 99 99 99 99 99 ,the ,author regrets that in the text the address of ,,messrs4 ,,torrance ,,sons1 ,,ltd41 is given incorrectly4 ,it should be ,bitton1 near ,bristol1 ,glos4 ,illustration ,,index4 ,acorn ,brown1 #ag ,amber ,brown1 #ag ,american ,walnut1 ,graining ,colour1 #ei ,american ,walnut1 ,ground for1 #eh ,antique ,oak1 ,ground for1 #eh ,apple ,green1 #ae ,ash ,graining ,colour1 #ei ,ash1 ,ground for1 #eh ,autumn ,leaf1 #ag ,birch1 ,ground for1 #eh ,bird's ,eye ,maple1 ,graining ,colour1 #ei ,blacks1 #gj ,blackboard ,paint1 #hg ,blues1 #cc-gj ,body1 #fd ,books1 ,useful1 #ib ,bronze for ,paint ,tins1 #hd ,bronze ,green1 #ae-ff ,brunswick ,green1 #dd ,brushes1 #gg ,buff1 #af ,care of ,brushes1 #ha ,characteristics of ,good ,colours1 #fa ,charlton ,white1 #bb ,cherry ,graining ,colour1 #ei ,chestnut ,graining ,colour1 #ei ,chrome ,green1 #ff ,chromes1 #fi ,colonial ,yellow1 #af ,colours1 ,dry1 #aa ,colours1 ,economy of ,using ,good1 #ah ,colours1 ,nomenclature of1 #ae ,colours or ,stainers1 #ad ,colours1 ,permanence of1 #ff ,colours that may be used with ,lime1 #gg ,commercial ,white1 #ba ,composition of a ,paint1 #g ,covering ,power1 #fc ,cream1 #ag ,dark ,drab1 #ag ,dark ,green1 #af ,dark ,oak1 #af-ag ,deal1 ,priming for1 #ac ,deep ,cream1 #ag ,deep ,drab1 #ag ,dipping ,paints1 #hd ,doe ,colour1 #af ,dutch ,process1 ,white ,lead1 #ba ,driers1 #h ,drum ,paint1 #hc ,dry ,colours1 #aa ,economy of ,using ,good ,colours1 #ah ,embossing on ,glass1 #ij ,emerald ,green1 #ff ,export ,putty1 #hf ,fawn ,brown1 #ag ,fineness of ,grinding1 #fb ,floor ,paints1 #hd ,french ,putty1 #hf ,good ,colours1 ,economy of ,using1 #ah-fj ,graining ,colours1 #ei ,grays and ,greys1 #bb ,greens1 #dd-ff ,ground ,colours for ,graining1 #eg ,harmony of ,colours1 #ia ,hard ,putty1 #hf ,hue1 #ai ,imperishable ,putty1 #hg ,indian ,red1 #g-fh ,indigo1 #cc ,inside second coat1 #ac ,iron1 ,priming for1 #ab ,iron ,cement1 #hc ,iron1 ,paint for1 #hf ,italian ,walnut1 ,ground for1 #g ,ivy ,green1 #af ,japan ,white1 #bj ,japanners1 #h ,knotted ,oak1 ,ground for1 #eh ,lead and ,zinc1 ,mixing1 #bj ,light ,chocolate1 #af ,light ,drab1 #af ,light ,oak1 ,ground for1 #eg ,light ,oak ,stain1 #ga ,light ,stone1 #af ,lilac1 #af ,linseed ,oil1 #h ,liquid ,driers1 #h ,lithopone1 #ba ,luminous ,paint1 #hi ,mahogany ,graining ,colour1 #ei ,mahogany1 ,ground for1 #eh ,maple ,graining ,colour1 #ei ,maple1 ,ground for1 #eg ,materials1 ,proportions of1 #ab ,medium ,oak1 ,ground for1 #eg ,middle ,stone1 #af ,mixing ,greens1 #dd ,mixing ,machine1 #i ,mixing of ,paint1 #i-aj ,mixing ,zinc and ,lead1 #bj ,moss ,gray1 #ag ,moss ,green1 #ae ,nomenclature of ,colours1 #ae ,oak1 ,ground for1 #eg ,ochres1 #fi ,olive ,green1 #af ,paint1 ,composition of1 #g ,paint for ,iron1 #he ,paint ,mixing1 #aj ,paint ,mixing ,machine1 #g ,paint ,remover1 #ga ,paint ,strainer1 #aa ,painting on ,stucco1 #ab ,paints1 and how to mix them1 #ea ,patent ,driers1 #h ,pea ,green1 #af ,pearl ,gray1 #af ,permanence of ,colours1 #ff ,permanent ,pigments1 #fg ,permanent ,white1 #bj-ba ,pigments liable to change1 #gd ,pine1 ,priming for1 #ac ,pitch ,pine1 ,ground for1 #eg ,pollard ,oak ,graining ,colour1 #ei ,pollard ,oak1 ,ground for1 #eg ,prang's 8,standard of ,colour01 #ah ,priming ,coat1 #gj ,priming for ,deal1 #ac ,priming for ,iron1 #ab ,proportions of ,materials1 #ab ,prussian ,blue1 #cc1 #cf1 #de1 #gj ,purity of ,colours1 #fa ,purity of ,tone1 #fb ,purple ,brown1 #g ,putty ,recipes1 #hf ,red ,lead1 #fh ,reds1 #bf ,rosewood ,graining ,colour1 #ei ,rosewood1 ,ground for1 #eh ,sage ,green1 #ae ,sandstone1 #af ,satinwood1 ,ground for1 #eg ,sea ,green1 #ae ,second ,coat1 #ac ,shade1 #ai ,sienna1 #gj ,sienna ,brown1 #ag ,signal ,red1 #ag ,size for ,plastered ,walls1 #ga ,slate1 #af ,smoke ,colour1 #ag ,snuff ,brown1 #ag ,soft ,putty1 #hf ,special ,paints1 #hc ,specific ,gravity1 #gb ,spreading ,capacity1 #fc ,stainers or ,colours1 #ad ,standard in ,graining ,colours1 #fj ,steel ,gray1 #af ,stainers for ,paint1 #aa ,stipplers1 #hb ,straining ,paint1 #aa ,straw ,yellow1 #ag ,strength of ,colours1 #de ,stucco1 ,painting on1 #ab ,terebine1 #hc ,testing ,colours1 #fj-fe ,testing ,turpentine1 #gd ,tint1 #ai ,tinting ,strength1 #fd ,tool for ,paint ,mixing1 #aa ,turpentine1 #g ,turpentine1 testing1 #gd ,tuscan ,red1 #fh ,ultramarine1 #cg-gj ,umber1 #gj ,useful ,recipes1 #hc ,varnish ,brushes1 #hb ,varnishing ,paint1 #h ,venetian ,red1 #g-fh ,vermilion1 #fh ,vermilionette1 #fh ,walnut ,stain1 #ga ,warm ,gray1 #af ,white ,lead1 #g-ba ,white ,lead and ,ultramarine1 #de ,white ,lead1 ,testing1 #fb ,whites1 #bj ,whites ,compared1 #ba ,whitewash for ,poultry ,houses1 #hg ,window ,glass ,measurement1 #gb ,wire ,paint ,strainer1 #aa ,wood and ,glue ,putty1 #hg ,yellow ,ochre1 #g ,yellows1 #ch ,zinc and ,lead1 ,mixing1 #bj ,illustration ,m4 ,,waller ,,son1 ,,printers1 #ae1 ,,chapal ,,lane1 ,,hull4 ,,advertisements 8,,eclipse0 ,,paint ,,remover4 ,saving of #ej per ,cent4 in ,time and ,labour4 ,no ,lime or ,potash4 ,to ,railway and ,gas ,companies1 ,shipowners1 ,builders1 ,decorators1 ,coachbuilders1 ,painters1 ,ship and ,yacht ,builders1 etc4 ,no #a4 ,the 8,eclipse0 ,paint ,remover4 ,this ,powerful ,paste is invaluable for ,removing ,old ,hard ,paint 7any thickness71 ,enamel1 ,varnish1 and ,wall ,paper from ,wood1 ,stone1 or ,iron4 ,it is a ,disinfectant1 and will not injure the ,surface nor the ,paint or ,varnish afterwards applied1 and is pronounced by first-class ,firms to be the ,cheapest and most ,effectual in the ,market4 ,it is much liked for taking paint from ,baths for repainting1 and is invaluable as applied to old wood carvings and all fine-art work4 ,will thoroughly clean and renew ,marble1 etc4 ,send for ,circular and ,testimonials to ,,john ,m4 ,,gibson1 #ba1 ,,hope ,,street1 ,,glasgow4 ,,in ,,press4 ,,wall ,,paper ,,and ,,paperhanging4 ,by ,,arthur ,s4 ,,jennings4 ,a ,handbook on ,decoration in paper and other materials1 with practical instructions on ,hanging them4 ,illustrated by many half-tone and other engravings1 showing the latest designs in ,wall ,hangings4 ,price #es4 ,post free1 #es4 #c;d4 ,may be had of the ,author1 ,a4 ,s4 ,,jennings1 #fb1 ,barry ,road1 ,east ,dulwich1 ,london1 ,s4,e4 ,,the ,,ripon ,,claro ,,varnish ,,co4 ,works3 ,,ripon4 ,manufacturers of ,high-class ,varnishes1 ,japans1 ,paints1 ,colours1 etc41 ,,for ,,every ,,purpose4 ,specialities3 ,,quick ,,drying ,,ready ,,bound ,,colours ,,in ,,turps41 ,,require ,,no ,,gold ,,size ,,or ,,mixing4 ,drop ,ivory ,black1 ,chromes1 ,greens1 ,blues1 ,reds1 etc4 ,command an ,enormous ,sale4 ,,smith',s ,,patent4 ,a ,new ,tool for ,painters1 ,paint ,manufacturers1 and others for ,cleaning ,out ,paint ,cans1 ,drums1 ,kegs1 and the like4 ,will last for years1 and is a useful addition to a ,painter's ,outfit4 ,a ,good ,mixer4 ,handy for ,cleaning ,gutters1 ,scraping ,ironwork1 ,burning ,off1 and lots of other purposes4 ,,post ,,free1 #as4 #i;d4 ,h4 ,,smith1 ,,hale ,,road ,,bridge1 ,,altrincham1 ,,cheshire4 ,,the 8,,little ,,giant0 ,,paint ,,mixer4 ,the wood-cut on page #i of this work shows a useful ,paint ,mixer for hand power1 called the 8,little ,giant40 ,the advantage of this ,machine is that it can be taken to the spot where the ,paint is required1 and any quantity up to five gallons mixed in a few minutes4 ,the drum can be removed for distributing the ,paint by pulling down the lever4 ,the size of the container is #ae-;in4 #aj-;in41 and is interchangeable4 ,the weight of the 8,little ,giant0 is #c-;cwts4 when complete4 ,the machine should be of great use to those having to mix ,paint where work is being done1 and should appeal specially to ,builders1 ,shipbuilders1 and ,engineers4 ,,torrance ,,sons1 ,,limited1 ,,bitton1 ,,near ,,bristol4 ,the ,illustrated ,carpenter ,builder ,,the ,,best ,,journal ,,for ,,architects1 ,,decorators1 ,,painters1 ,,plumbers1 ,,joiners1 ,,gasfitters1 ,,and ,,mechanics ,,in ,,all ,,trades4 ,indispensable to ,every ,workman1 and ,interesting to ,every ,amateur4 ,one ,penny ,weekly4 ,monthly ,parts1 #f;d4 ,,the ,,carpenter ,,and ,,builder ,,technical44 4444 ,,series4 ,now ,ready3 ,,bricklaying1 ,,scaffolding1 ,,slating1 ,,home ,,handicrafts1 ,,painting ,,and ,,varnishing1 ,,masonry1 ,,plastering1 ,,carpentry4 ,in ,preparation3 ,,artificial ,,stone1 ,,terra ,,cotta1 c41 ,,concrete1 ,,joinery1 ,,decorating1 ,,plumbing4 ,edited by ,,john ,,black1 ,editor of the ,i4 ,c4 and ,b4 ,,price ,,sixpence4 ,each ,volume ,well ,printed and ,profusely ,illustrated4 ,off all ,newsagents1 ,stationers1 ,booksellers1 and ,bookstalls1 and 7#g;d4 ,post ,free7 ,,john ,,dicks1 #cac1 ,,strand1 ,,london1 ,e4,c4 ,telegraphic ,address3 8,,japanning1 ,,mitcham40 ,chas4 ,h4 ,blume1 ,western ,road1 ,mitcham1 ,,high-,,class ,surrey4 ,,varnishes1 ,,japans ,,enamels and ,,colours4 ,illustration ,,specialities3 ,blume's ,secoline ,driers4 ,less acute than ,terebine2 the use of ,secoline in ,paints warrants their absolute hardening in as short a time as possible without injury to the elasticity and wear of the paint4 #8,ambra' ,oil ,varnish ,stain4 ,durability incomparably greater than that of ,spirit ,varnish ,stain4 ,the #8,aristo' ,white ,african ,copal ,varnish4 ,paler than ,french ,oil4 ,the whitest1 choicest ,copal ,oil ,varnish made4 ,warranted free from ,damar1 yet water white in colour4 ,for inside and outside use4 ,price #cj_/- per gall4 ,special quotations for quantities4 ,blume's ,special ,liquid ,woodfiller1 ,write for ,catalogue1 ,price ,list and ,samples4 ,,you ,,should ,,try ,,ball',s ,instantaneous ,varnish and ,paint ,remover 7,by ,royal ,letters ,patent74 ,,it ,,saves ,,time6 ,,it ,,saves ,,money6 ,for first-class work it gives best results1 and for cheap work it is really a money-saver4 ,it does its work in a manner that no other material known to painters can do4 ,work done with ,ball's ,i4,v4,r4 is ready for re-coating at once1 with a beautiful smooth surface4 ,no ,washing ,down with ,water ,required4 ,this material is ,,sold under the ,,absolute ,,guarantee that it will ,,leave ,,no ,,bad ,,after-,,effects1 nor--,,most ,,important ,,point ,,of ,,all--will it ever work through any of the succeeding coats4 ,to ,decorators1 ,coach ,painters and ,hardwood workers this material is simply indispensable4 ,send for ,circular to ,,patentee and ,,manufacturer1 ,,wm4 ,,mitchell1 #ci1 ,nairn ,street1 ,,kirkcaldy1 ,n4,b4 ,sample ,gallon1 #ab_/- ,carriage ,paid4 ,,ellam1 ,,jones ,,co41 ,l,,td41 ,varnish1 ,paint and ,colour ,manufacturers1 ,,markeaton ,,mills1 ,,derby4 ,,established ,,nearly ,a ,,century4 ,,specialities3 ,,markeaton ,,red4 ,a perfect substitute for ,vermilion1 used exclusively by the ,midland1 ,great ,central1 ,hull and ,barnsley ,railway ,companies for their signal arms1 and by nearly all the ,corporations in the ,united ,kingdom for their ,fire ,appliances4 ,in ,washington ,bags of #cjlbs4 at #a_/f per lb4 ,the most reliable ,permanent ,red on the market4 8,,ellamite40 ,a ,,paint ,,absolutely ,,unique4 ,it is of the appearance of silver1 may be applied to the roughest iron or to any surface--covers splendidly--goes far4 ,it is quite durable both inside and ,,outside1 and costs only #bj_/- a gallon nett41 in gallon tins1 free2 and also in #a_/- and #b_/- tins1 subject4 ,this preparation is made by a process of electrolysis4 ,railings1 iron gates1 c41 look splendid when painted with it4 ,painters and decorators all over the country are taking it up4 ,specified for many important works1 including ,great ,yarmouth ,new ,britannia ,pier1 ,yarmouth ,aquarium1 c4 ,,chromate ,,of ,,zinc1 ,,steel ,,blue1 etc4 ,,original ,,manufacturers ,,of ,,oxide ,,of ,,iron4 ,,samples ,,on ,,application ,,to ,,ellam1 ,,jones ,,co41 ,ltd41 ,paint1 ,colour and ,varnish ,manufacturers1 ,,markeaton ,,mills1 ,,derby4 ,,zingessol1 ,orr's ,new ,washable ,distemper4 ,fast ,colours1 ,,superseding ,artistic1 ,,all ,,others4 ,economical4 ,,warranted ,,free ,,from ,,lime4 ,durable as ,oil ,paint for ,inside or ,outside ,work1 and much less expensive4 ,it is a happy combination of the old ,italian ,gesso ground with a zinc preparation1 and not only non-poisonous1 but a valuable ,sanitary ,agent4 ,a well-chosen ,wall ,decoration in ,zingessol is an art education to those accustomed only to coloured washes or tawdry papers4 ,price ,list1 ,patterns of ,stock ,colours1 c41 will be sent on application to the ,manufacturers3 ,,orr',s ,,zinc ,,white ,,ltd4 ,widnes1 ,lancashire4 ,,or ,,to ,,their ,,agents4 ,telegrams3 8,,orr1 ,,widnes40 ,illustration3 ,g,b,,kent,,sons ,,best,,british,,brushes ,illustration3 ,,established ,,in #agfj4 ,,lewis ,,berger ,,and ,,sons ,,limited ,manufacturers of ,,paints1 ,,colours1 ,,and ,,varnishes4 ,specially ,prepared ,lines for ,,decorators ,,sign,,writers c write for samples particulars ,homerton1 ,london1 ,n4,e4 ,transcriber's ,notes ,inconsistent spelling 7including that of proper names71 punctuation1 lay-out and formatting have been retained1 unless mentioned below4 ,the differences in wording between the table of contents and the text have not been standardised2 except as mentioned under ,changes below1 chapter and 7sub-7section headings in the text are based on the text rather than on the table of contents4 ,because of the difficulty to calibrate the named 7mixed7 colours1 the colour samples provided have been copied straight from the scans1 without any colour correction or contrast or brightness adjustments4 ,see also the section on ,the ,nomenclature of ,colours4 ,the inconsistencies in the ,index have not been corrected4 ,depending on the hard- and software used and their settings1 not all elements may display as intended4 ,page #da3 ,naples yellow is mentioned twice1 possibly one mention is erroneous4 ,changes made ,some obvious punctuation and typographical errors have been corrected silently4 ,page #g3 ,venetian read changed to ,venetian red ,page #cg3 ,torquoise ,blue changed to ,turquoise ,blue ,page #fj3 ,chapter title ,,how ,,to ,,test ,,the ,,quality ,,of ,,colours inserted cf4 table of contents4 ,page #gd3 ,chapter title ,,recipes1 ,,tables1 ,,hints ,,and ,,notes inserted cf4 table of contents4 ,page #hf3 ,putty for inside wook changed to ,putty for inside work ,page #hh3 ,in printing over bad stains changed to ,in painting over bad stains ,page i3 ,birdseye changed to ,bird's ,eye as in text4