,,transcriber',s ,,note ,italic text is denoted by underscores4 ,this book has no footnotes2 it has one #8,,note4' which has been placed at the start of the relevant text4 ,the tables in this book are best viewed using a monospace font4 ,some minor changes to the text are noted at the end of the book4 ,practical ,house1 ,wagon and ,automobile ,painter ,,including ,,sign ,,painting1 ,,and ,,valuable ,,hints ,,and ,,recipes ,,by ,w4 ,f4 ,,white ,illustration3 7,publisher colophon47 ,,shrewesbury ,,publishing ,,co4 ,,chicago ,,copyright1 #aiai ,,by ,,shrewesbury ,,publishing ,,co4 ,,index4 ,,page4 ,analysis of ,yellow ,ochre1 #c ,brown ,hard ,spirit ,varnishes1 #hi ,blistered ,doors1 to ,repaint1 #he ,brass1 to ,clean1 #hh ,black ,varnish for ,iron1 #hg ,blinds1 to ,handle when ,painting1 #cc ,brass and ,copper1 to ,clean1 #ce ,bronze for ,metal1 #he ,benzine1 to ,de-odorize1 #hb ,bronze1 #add ,blackboard ,slating1 #hc ,blackboard ,slating1 ,cheap1 but ,good1 #hc ,blackboard1 to ,make on ,common ,plaster1 #hc ,brush ,cleaning ,trough1 #be ,brick1 to ,clean1 #ch ,brick ,painting1 #bh ,crawling ,paint1 #e ,cracks in ,walls1 to ,fill1 #aca ,cleaning a ,room1 #bi ,cherry ,stain1 #dd ,cracks in ,paint and ,varnish1 #bj ,cleaning ,phaeton ,cushions1 #adb ,carriage ,painting1 #acd ,damp ,walls1 to ,treat1 #gc ,dipping ,paint1 #hh ,door ,plates1 to ,clean1 #hd ,damar ,varnish1 #bf1 #ia ,dry ,ochre for ,priming1 #b ,estimating ,work1 #ad ,enameled ,letters1 to ,apply to ,glass1 #ie ,furniture ,varnish1 #ia ,fire-proof ,paint for ,roofs1 #hf ,fluoric ,acid1 to ,make1 #acb ,gold ,varnish1 #ij ,guessing on ,work1 #h ,glass1 to ,crystallize1 #ic ,gilding on ,glass1 #h ,gilding on ,wood1 #ch ,grease ,spots1 to ,kill1 #cd ,hard ,wood ,floors1 to ,finish1 #cc ,hard ,putty1 #aba ,japan1 ,testing1 #ai ,kalsomine1 #cd ,kalsomine1 to ,make and ,apply1 #aba ,liquid ,wood ,fillers1 #acc ,lacquers for ,brass and ,tin1 #ia ,leather ,varnish 7black71 #ia ,lead ,poisoning and ,symptoms1 #ec ,liquid ,glue1 #ic ,lamp ,black1 to ,mix1 #hg ,liquid ,glue for ,kalsomine and ,wall ,sizing1 #abc ,measuring a ,job1 #ag ,mahogany ,stain1 #dd1 #de ,midsummer ,painting1 #fg ,marking ,ink1 #adf ,natural ,wood ,finishing1 #dg ,old ,carriage ,work1 #adj ,oil ,size for ,old ,whitewash1 #cg ,old ,wall1 to ,prepare for ,paint1 #abd ,oak ,stain1 dark1 #de ,oak ,wood ,stain1 #id ,oil ,rubber ,paint for ,cloth1 #hc ,painting ,cars at ,home1 #aec ,plastered ,wall1 to ,paint1 #abg ,paste to ,hold ,labels on ,tin1 #ca ,paint to ,prevent ,rotting under ,ground1 #hb ,paint1 to ,remove1 #ce ,paper ,hanger's ,outfit1 #ia ,price ,list and ,measurement1 #fb ,paint1 to ,clean1 #hd ,porcelain ,finish1 #eb ,paper ,hanger's ,paste1 #ib ,putty1 to ,soften1 #ah ,putty1 to ,color1 #ej ,paste for ,painted or ,varnished ,walls1 #ic ,rust ,spots on ,marble1 #ade ,red ,saunders ,stain1 #de ,red ,wood to ,finish1 #ade ,rough ,stuff1 #adb ,rough and ,sandy ,walls1 #abi ,sizing ,walls1 #id ,sign ,painting1 #ii1 #aag ,scaled ,work1 to ,repaint1 #gg ,sixteenth ,century ,oak1 #ee ,spots on ,paint1 #ej ,sandpapering1 #gf ,stencil ,border1 #gg ,spirit ,varnishes1 #hh1 #ij ,size ,muslin for ,lettering1 #gh ,slowing the ,drying of ,paint1 #he ,stir ,your ,paint1 #da ,stencil ,ink 7black71 #add ,signs on ,colored ,glass1 #aca ,strainers1 #cd ,silver1 to ,clean1 #ce ,stencil ,staining1 #bf ,success in ,painting1 #g ,symptoms of ,lead ,poison1 #ee ,tin ,roofs1 to ,paint1 #b ,tents1 etc41 to ,make ,weather-proof1 #cb ,tacky ,paint1 to ,cure1 #ah ,tortoise ,shell1 to ,imitate1 #fa ,varnish to ,fix ,pencil ,drawings1 #ade ,varnish to ,imitate ,ground ,glass1 #fj ,varnish for ,rustic ,work1 #fa ,varnish ,stains1 #dd ,varnished ,paint1 to ,clean1 #he ,very ,dirty ,brass1 to ,clean1 #fa ,wax ,polish1 #bf ,whitewash1 to ,soften1 #ade ,water ,glass for ,floors1 #ade ,walnut ,stain1 #dd ,white ,hard ,spirit ,varnishes1 #hi ,walnut1 to ,stain ,like ,mahogany1 #df ,water ,colors1 to ,mix1 #gh ,white ,shellac1 to ,make1 #di ,white ,enamel1 #fj ,wall ,sizing for ,kalsomining1 #ig ,why ,do ,wall ,papers ,crack1 #cf ,whitewash for ,outside1 #cc ,wax ,floor ,finish1 #hh ,zinc1 to ,clean1 #ch ,zinc1 to ,paint on1 #cb ,,practical ,,house ,,painter4 ,the following is an infallible and simple commercial test of the purity of white lead3 8,take a piece of firm1 close-grained charcoal1 and near one end of it scoop out a cavity about half an inch in diameter and a quarter of an inch in depth4 ,place in the cavity a sample of the lead to be tested1 about the size of a small pea1 and apply to it continuously the blue or hottest part of the flame of the blow-pipe2 if the sample be strictly pure it will1 in a very short time1 say in two minutes1 be reduced to metallic lead1 leaving no residue2 but if it be adulterated1 even to the extent of ten per cent4 only1 with oxide of zinc1 sulphate of baryta1 whiting or any other carbonate of lime 7which substances are the principal adulterations used7 or if it be composed entirely of these materials1 as is sometimes the case with cheap lead 7so-called71 it cannot be reduced1 but will remain on the charcoal in an infusible mass4 8,a blow-pipe can be obtained from any jeweler at small cost4 ,an alcohol lamp1 star candle1 or a lard oil lamp furnishes the best flame for use of the blow-pipe4 ,this test is very simple and any one can very soon learn to make it with ease and skill40 ,,japan4 ,always cut your japan in a little turps before you add it to the paint4 ,an ounce of japan1 cut with turps1 will do better work than two ounces in oil paint1 if put in clear4 ,don't add dryer to any more paint than you can use up in a few hours1 because it will soon commence to fatten your paint in the pot and lessen its covering and wearing properties4 ,many a job has been spoiled by using old color1 doped with japan4 ,such paint is liable to mildew4 ,,objections ,,to ,,the ,,use ,,of ,,cheap ,,dry ,,ochre ,,as ,a ,,primer4 #ast4 ,it is too dark for light colored work1 because sooner or later it will show through in spots1 or darken the entire work4 #b;d4 ,it leaves a rough1 coarse surface which the succeeding coats fail to completely level up4 #c;d4 ,succeeding coats are liable to scale from cheap coarse ochre priming4 ,,painting ,,tin ,,roofs4 ,when paint scales from a tin roof it is not always the fault of the paint4 ,it stands the painter in hand to carefully examine a new tin roof before painting it4 ,when the tinner uses rosin as a flux to make his solder flow1 the rosin is melted and cools again on the tin4 ,when such is the case1 carefully scrape it off with a knife1 otherwise it will be liable to scale off1 and take the paint with it4 ,when acid is used in the place of rosin it is apt to corrode the tin1 hence it is best1 if you want a permanent job1 to clean off the acid4 ,to do this1 first rub the seams with kerosene oil1 then wash with soap suds and rinse with clean water4 ,if the roof is quite new1 and the tin feels greasy1 go over it with a wash made of one pound of sal-soda to six quarts of water1 let it stand one-half day2 then wash the tin with clear water4 ,instead of this method1 ,i have given new tin a good rubbing with ,no4 #a sandpaper to make it hold the paint4 ,,analysis ,,of ,,ochre4 ,below is an analysis of a sample of ,french ochre1 which is about the average of that pigment3 ,parts4 ,hydrated oxide of iron #db ,alumina #bj ,silica #ch ,the oxide gives the color2 the parts as given above are in the right proportion to give the most stable color and durable body to be found in ochre4 ,here is an ochre1 which was ground in a linseed oil substitute1 and sold to the trade at four cents per pound in twenty-five pound cans1 and retailed to the painter at seven cents per pound in cans1 to-wit3 ,parts4 ,barytes #eh ,whiting #ae ,oxide of iron1 silicate and alumina #bd ,chrome yellow #b ,this so-called ochre could be ground in one-half the oil it would take to grind yellow ochre4 ,,another4 ,parts4 ,poor chrome yellow #h ,ochre #be ,whiting #fg ,ground in snide oil1 and sold to jobbers at five cents per pound1 to painters eight and ten cents4 ,,another4 ,parts4 ,barytes #fb4ij ,ochre #dj4jj ,barytes is not ochre1 and this was sold as pure ochre4 ,,another4 ,sold as ,french ochre1 and recommended for priming3 ,parts4 ,oxide of iron1 alumina #ai4gi ,silica #dj4ic ,whiting #aa4eg ,barytes #bf4fd ,,another ,,in ,,oil4 ,parts4 ,chrome yellow #ab ,whiting #be ,barytes #fc ,oil #ac ,the markets are flooded with such imitations of ochre1 both dry and in oil4 ,the quantity of oil required to grind pure ,french ochre makes it high-priced1 hence there is a motive for putting up barytes1 which takes but little oil in grinding4 ,,yellow ,,iron ,,ore4 ,much of the so-called dry ochre on the market is a yellow1 iron ore and not yellow ochre4 ,when mixed in oil and put on a tin roof it will turn brown inside of ninety days4 ,i presume you have had experience with such stuff4 ,this makes a bad primer2 it is very liable to scale4 ,,crawling ,,paint4 ,when paint crawls it is because there is not sufficient adhesion between the undercoat and the new coat1 caused usually by too much gloss on the undercoat4 ,to prevent crawling subdue the gloss on the undercoat by sandpapering1 rubbing1 or by the application of some material which will have the desired effect2 or1 if on the outside1 wait until the gloss has been subdued by the elements4 ,there is nothing more trying to one's patience than to have the paint let go and crawl up in bunches after it has been carefully brushed out4 ,hence1 it is well to provide against such trouble in advance4 ,the observing painter has no doubt noticed that paint is more liable to crawl under cornices1 and upon other sheltered positions1 than elsewhere2 hence1 it is best in all such sheltered places1 where the elements do not have full play1 to use sufficient turpentine to prevent a high gloss on the undercoats4 ,,to ,,paint ,,blinds ,,and ,,not ,,daub ,,your ,,hands4 ,first1 have a stick to open and shut the slats with after you commence to paint4 ,second1 leave a place on each stile1 or side rail1 half way between the hinges1 six or eight inches long1 unpainted1 except to cut in the edge next the end of the slats to take hold of when you turn the blind over or set it aside2 also leave the bottom hinge unpainted4 ,after you have set up the blind hold it up by the unpainted hinge until you finish the stiles2 then lean it up against its support and touch up the hinge4 ,in this way you need get no more paint on your hands than you would in painting a door4 ,no time will be lost1 because you can touch up the stiles in less time than it would take to wipe your hands and brush handle4 ,,legless ,,step-,,ladders4 ,step-ladders without legs for outside work are good things to have on the job4 ,say1 three of them1 #f1 #h and #aj feet long4 ,a man of good height can paint #ad feet high from the #aj-;foot ladder4 ,they are much easier on the feet than a 8round0 ladder4 ,you can stand straighter and reach farther when standing on a step than you can while trying to balance on a round stick2 besides1 a step is a handy place to set your pail on4 ,,success ,,in ,,painting4 ,painting don't pay1 eh8 ,no wonder it don't pay1 because here you are spending half your time growling4 ,the facts in the case are1 8,you are not up-to-date40 ,if there is no possibility of making money at the trade1 how is it that your competitor gets along so well8 ,why is it that he accumulates and you lose8 ,he goes into the same market for labor1 material and jobs that you do4 ,he comes out every fall with his pockets full1 and you round up poor as a church mouse4 ,there must be a screw loose somewhere in your management4 ,will ,i point one out8 ,certainly1 we have always been friends1 and ,i can never do too much for a friend4 ,in the first place you are too impetuous4 ,you forget for the time that bills for labor and material will fall due1 that you must live--and you take the job at losing figures4 ,you ought to realize that the success of a contracting painter depends upon his business qualifications4 ,to-wit3 ,correct and careful estimates1 coolness in bidding1 care in selecting materials and men1 systematizing his work so as to keep each man in the right place4 ,i don't know how much you are getting for this job1 but it looks to me that you are losing money every day by using poor material and improper handling of your men4 ,the good business man prefers the strictly pure ,dutch process white lead to the adulterated brands4 ,he uses pure linseed oil instead of adulterated mixtures and imitations of it1 and he never loses sight of the fact that a good reputation is a mine of gold to him4 ,if he finds a man is a good hand on a ladder or swing stage he keeps him there1 and if he finds a man an expert at inside work he keeps him there1 and if he finds a man is a poor stick in any place he lets him go1 rush or no rush4 ,if he has high work he provides a safe and easy way to get there4 ,if he has inside work his step-ladders are equal to the work4 ,he knows when a man has to reach too far or stand on top of a ladder he can't half work4 ,learn to manage your men1 to keep the right man in the right place4 ,stop making ruinous bids4 ,open your eyes to the fact that a man who makes a losing bid on a job1 to beat his competitor1 acts like an idiot1 and is meaner than flies in paint4 ,,guessing ,,on ,,work4 ,the practice of estimating work by guess has brought many a painter up with a round turn in the fall in debt4 ,the curious part of it is that the lesson is rarely1 if ever1 learned4 ,don't be too smart4 ,guessing on work is very uncertain business4 ,,glass ,,gilding4 ,a practical expert in an ,english journal1 the 8,plumber and ,decorator10 gives the following as his process acquired and tested by many years' experience4 ,the tools and materials required for glass gilding are the same as used for gilding in oil1 excepting the gold size4 ,oil gold size would never do for glass work4 ,in glass gilding the object is to get a size or mordant which will have the least possible tendency to destroy or mar the burnish of the gold leaf4 ,this is absolutely necessary1 when we consider that in this kind of work the size is before the gold1 not as in oil gilding--behind it4 ,for a mordant nothing can be better than the best isinglass4 ,to prepare this for use the utmost care and cleanliness should be exercised4 ,the water must be quite pure--free from grease or impurities of any kind4 ,in preparing the size the following may be relied upon as a first-class recipe3 ,boil about one pint of water in a perfectly clean pan4 ,should any scum rise during the operation remove it with a large spoon4 ,then add about as much isinglass as will lie on a dime to the boiling water4 ,this is best done a little at a time to prevent it gathering in a mass before it has a chance of dissolving4 ,when the isinglass is dissolved strain the size through a fine silk handkerchief1 folded double or fourfold1 or1 better still1 through some white blotting paper4 ,this straining or filtering will remove any bits or impurities that may have lodged unperceived in the isinglass4 ,when cool the mordant is ready for applying to the glass4 ,some gilders like to add spirit in some form--generally spirits of wine--to their size4 ,their reasons for doing this are not always very explicit4 ,some do it because they have seen others do it4 ,others add it1 they say1 to give the gold a better burnish1 or to make it better adhere to the glass4 ,this is a delusion4 ,the most sensible reason for its use was imparted to me by a veteran in the trade4 ,he used spirits of wine to take out or kill any slight greasiness that may have been in the water or isinglass4 ,i must confess that until ,i learned this1 spirits always formed part of my mordant1 because others used it4 ,however1 on further consideration1 its use has been discarded1 and1 if anything1 a better burnish on the gold is the result4 ,in making the size it must be borne in mind that the less isinglass used the brighter will be the gilding when completed4 ,of course1 if too little be used1 the gold will not adhere to the glass as it should1 and this would cause much damage and annoyance when the isinglass size was floated on again to proceed with the second gilding4 ,when the size is too strong1 or contains too much isinglass1 no amount of burnishing will remove it altogether from before the gold4 ,these are important points and should be carefully studied4 ,but a little practice soon teaches the gilder how to arrive at the happy medium4 ,there are a variety of purposes to which ornamental glass gilding may be applied besides sign work1 shop fronts or glass doors4 ,it is now much used for show cases1 window tablets1 druggists' bottles1 fixtures and pilasters for shop fronts4 ,very often the design is embossed or bit into the glass1 and worked up with gold and silver leaf1 besides being picked out in colors4 ,this is both a costly and effective method of decorating1 which shall have full consideration in a future chapter4 ,for the present it will1 no doubt1 be advisable to consider the simpler form of glass gilding4 ,when this is thoroughly understood very little further instruction is needed for high-class work4 ,for the sake of example we will suppose a glass slab about three feet six by twelve inches is the subject to be treated4 ,this is to have black letters without thickness or shadow on a gold ground4 ,there are two methods of doing this4 ,one is to first paint on the glass the letters with japan black and afterwards gild the plate4 ,the other consists in first gilding the plate solid and then painting in the background with japan black4 ,by this method the lettering is left untouched4 ,the gold on these is then washed off1 the edges trimmed1 and the letters themselves painted black or any other desired color4 ,this latter is1 perhaps1 the most satisfactory4 ,however1 a few lines of explanation will be devoted to each process4 ,first in order comes a plate1 the letters on which are painted with japan black previous to gilding4 ,to the learner1 no doubt1 the plain block letters will prove an attraction1 because of their simplicity4 ,this should be set out correctly on a sheet of lining paper4 ,it will only be necessary to run in an outline of the letters4 ,when completed to the satisfaction of the operator it may be pasted round the edges and fixed on the face of the glass4 ,the back of the glass1 that is the side upon which the work is done1 should be quite clean4 ,when the plate is fixed on an easel or stand1 which is the most convenient place for working1 the letters will1 of course1 read backwards4 ,in this form they must be painted4 ,when quite dry and hard1 should the outlines of the letters be irregular1 they may be set right in a very simple manner4 ,all that is required to accomplish this is a metal straightedge and a sharp quarter inch joiner's chisel4 ,the straightedge is laid across the tops and bottoms of the letters and the chisel is employed to cut them sharp and true4 ,the sides of the straight letters are then similarly treated2 curves must be perfected with a writing-pencil4 ,the paper may now be taken from the face of the glass and the plate examined all over4 ,should any specks of black be found on it they must be removed before the gilding is gone on with4 ,the smallest speck shows up before the gold leaf4 ,if convenient1 before gilding1 have the plate fixed at an angle of about #de degrees4 ,while in this position take a flat gilder's mop and float the isinglass size over the glass4 ,then take up the cushion1 take out a few leaves of gold from the book1 and whilst the glass is wet cover it with gold1 lifting the gold from the cushion as described in the last chapter4 ,if possible lift a whole leaf at once1 but should this at first prove troublesome try half a leaf4 ,keep the glass wet with the size and overlap slightly each successive leaf of gold until the whole of the glass is covered4 ,the glass must now dry before it can be re-gilded1 and must then be gently rubbed with the finest cotton wool4 ,it is an easy matter to ascertain whether it is dry or not4 ,when wet the gold1 if looked at from the front of the glass1 has a dead look1 but if dry it shows up bright4 ,if possible leave the plate till next day before giving it a second coat of gold4 ,the advantage of this delay is obvious4 ,the gold has time to get hard1 which materially reduces the risk of its being removed when a second application of size is necessary4 ,to the novice it will1 no doubt1 appear at first sight both a waste of time and gold to gild all over the work again1 but if the plate be held up to the light it will show many imperfections in the shape of small holes1 cracks and imperfect joinings4 ,another coat of size floated on and another layer of gold over the whole of the work should turn out a so far satisfactory finish4 ,let the glass dry again and be subjected to a further examination for faulty places4 ,should any be found cover them with more gold4 ,but if the work is satisfactory it is ready for the burnishing process4 ,the first stage is to polish the gold by gently rubbing with fine cotton wool1 care being taken not to scratch the gold4 ,this is1 of course1 only a repetition of the polishing after the first layer of gold4 ,there are several methods in general use for obtaining that brilliant burnish so much admired in glass gilding4 ,but the one that meets with most favor and success is what is called the 8hot water burnish40 ,it will be advisable to practice on the glass under consideration4 ,after the cotton wool polishing is completed warm the glass either by holding it before a fire or gently pouring warm water over it4 ,this is only a precaution against breakage by sudden expansion4 ,now let it dry1 and while warm polish again with the cotton wool4 ,repeat the pouring of water1 hotter than the last1 and when the glass is dry1 after this operation1 gently rub it again with cotton wool4 ,this hot water flushing should be carried on until the burnish is quite satisfactory4 ,but it must be very carefully done1 else the gold runs a risk of being washed off in patches4 ,,how ,,to ,,estimate ,,work4 ,measure your work with the tape-line and be sure you get all there is in it2 projections1 depressions1 mouldings1 edges1 etc4 ,many a painter has dropped his profits by not taking in these little particulars4 ,every bead1 sunken or raised panel makes an edge to paint4 ,the edges of ordinary weather boarding add ten per cent4 to the surface1 to say nothing of the edges of the corner boards and window and door casings--the projections and depressions in the panels of an ordinary four-paneled door1 add at least ten per cent4 to the surface to be painted4 ,then let me say to you again1 look closely for edges1 projections1 depressions1 hollows and rounds4 ,they all count when you paint them2 and it is your fault if they are not included in the estimate4 ,when you have multiplied the number of feet around a house by the average height and reduced it to yards you have only made a start4 ,measure the cornice1 follow the hollows1 rounds and edges with the line4 ,there is lots of surface in mouldings4 ,the tape-line is good as far as you can make it go1 but it can't do it all4 ,you must use judgment in connection with it2 and carefully estimate the condition of the work1 what per cent4 is slow to paint1 or high and difficult to reach4 ,for instance1 what is the condition of the surface1 is it porous and full of cracks8 ,is every joint gaping for putty8 ,is the putty on the windows rough and broken8 ,is the old paint cracked1 blistered and scaling8 ,is the cornice ornamented with dentils1 brackets and panels8 ,you may lose a day or a week of extra time on a high tower or cupola if you fail to put it into your estimate as extra hard to reach4 ,make the price accordingly4 ,are the blind-slats stuck fast and difficult to paint8 ,is the work to be done in the busy season when labor and material are high priced and good men are hard to get2 or in the dull season1 when dealers will cut prices and good men are hunting for work8 ,bidding on specifications must be done with care4 ,you can figure the number of yards to be painted1 but there are many points which the completed job can alone disclose4 ,a provision in your contract to cover all changes in specifications comes mighty handy on the day of final settlement4 ,it is not safe to make anything like a close bid on specifications1 until the following questions have been settled and put in your contract4 ,to-wit3 ,will the building be delivered to you at a specified time1 finished and cleaned out and put in good condition for the painter2 or will you be expected to commence before the work is finished and paint as the work is put up1 and spend as much time dusting and sweeping as you do at painting8 ,will the machine-dressed lumber1 including mouldings1 doors1 window-stops1 etc41 be put in as it comes from the factory rough and fuzzy1 or will it be redressed and made smooth and ready for the paint8 ,these points may look to you like small matters1 but they count when you come to paint the work4 ,if you are to do a fine job stipulate in your contract that the wood-work1 etc41 shall be finished in good shape4 ,if you are to paint the work as you find it have it so stated in your contract4 ,paste this motto in the top of your hat and read it often3 8,it is always better to lose a job than to get it and lose money on it40 ,two houses may be of equal dimensions1 yet it may be worth #ej per cent4 more to paint one than the other2 hence any definite scale of prices for work by the yard is liable to be misleading4 ,we may determine by the line how much there is of the work1 but we must rely upon our judgment and experience to determine how much it will cost to do it4 ,,one ,,way ,,to ,,measure ,a ,,job4 ,find the surface measure of the entire job1 including all edges and projections1 and estimate how much it is worth per yard1 on the basis that it is all plain work1 easy to get at4 ,next we will proceed by what we may call special measurement4 ,suppose the cornice measures #fj yards1 and is finished with blocks1 moulded panels and brackets1 and we estimate that the cost of painting it will be three times that of a plain cornice1 hence we will add two measures or #abj yards to the general or first measurement4 ,next1 suppose each window and casing measures three yards1 and there are #bj of them to be trimmed in colors1 we estimate the work of painting them double that of plain work2 hence we add to our special measurement #fj yards4 ,if there is a cupola high and difficult to reach we estimate that it will be worth double the cost of painting ordinary work to do it4 ,say1 it measures #ej yards1 we will add #ej yards to the general measurement1 and so we will go on until we have taken in all parts of the work which will cost more than ordinary plain work4 ,to illustrate3 ,the building measures #fjj yards1 and as plain work we estimate it worth twenty cents per yard to paint it4 ,we amount our special measurement which we will say adds up to #cjj yards1 which added to the #fjj yards general measurement1 makes #ijj1 which at twenty cents per yard1 makes #ahj4 ,the same system may be used inside4 ,,to ,,soften ,,hard1 ,,lumpy ,,putty4 ,break the putty into lumps2 put it in a kettle with enough water to cover it2 add a little raw oil1 and boil and stir well while hot4 ,the putty will absorb the oil2 pour off the water1 let the putty cool1 then work it1 and your putty will be as good as new4 ,,tacky ,,paint ,,on ,,church ,,seats1 ,,etc4 ,during my experience as a painter1 ,i have been called upon to repaint tacky seats in at least half a dozen churches4 ,such seats are an unmitigated nuisance4 ,tacky paint may be the result of putting too much japan in oil paint1 or of using fat oil1 or paint which had been mixed a long time1 especially if it had very much japan in it1 or by mixing oil and varnish1 or by putting varnish on oil paint1 especially if the paint had not been given time to dry hard before it was varnished4 ,to harden tacky paint try this3 ,take one part japan and three parts of turpentine1 and give the work a coat of the mixture4 ,that will usually effect a cure1 unless the paint is soft clear to the wood4 ,a coat of shellac will sometimes do the work all right4 ,such seats usually seem all right until warmed by the heat of the body2 hence we may be satisfied that the fault is in the oil used in the paint or varnish4 ,it is best on that account to use but little if any oil when painting seats of any kind4 ,coat up with color ground in japan and thinned with turps2 varnish the part which comes in contact with the body with shellac varnish4 ,i have painted seats this way1 and never heard of any further trouble with them4 ,to repaint tacky seats the best way is to burn off the old paint1 and coat up as above2 because1 if a hard drying paint is put over the old soft paint it is liable to crack4 ,it is well1 however1 to see if the turpentine and japan will work a cure1 or if a coat of shellac will stop the trouble4 ,to do this it is well to first experiment on one seat1 or upon a small surface4 ,i have killed tacky paint by rubbing it with a cloth wet with ammonia2 when dry1 try it1 and see if the 8tack0 is gone2 if not1 go over it again2 when dry1 put on a coat of shellac varnish2 this is a pretty sure cure4 ,,testing ,,japan4 ,if japan smells of benzine don't buy it4 ,mix it with clear oil2 if it curdles1 you don't want it4 ,mix drop black with some of it2 as stiff as good drop black ground in japan2 then thin with turps and make a painting test1 to see if it is a good binder4 ,to see if it will crack1 paint on glass1 let it dry and hold the glass between your eye and the light4 ,if you see fine cracks don't buy any of it4 ,when you go to buy japan1 ask the dealer who made it4 ,if he don't know1 make up your mind at once that it is a fatherless waif without a name1 and likely to be worthless4 ,when a man makes a good thing he is apt to send his name along with it as an advertisement4 ,this applies to all material4 ,there is a great deal of bad japan on the market1 and a great amount of work ruined by it4 ,buy none unless it bears the brand of a reputable maker and will stand these tests4 ,i do not need to tell the practical painter that there is a great amount of bad japan on the market1 and that a great deal of paint is ruined by it4 ,buy no japan unless the can bears the name of some reputable manufacturer1 and will stand the above tests4 ,,why ,,do ,,paints ,,and ,,varnishes ,,crack8 ,the following paper was read by ,mr4 ,a4 ,p4 ,sweet1 of ,iona1 ,mich41 at a meeting of master car painters3 ,,subject3 8,why do paints and varnishes crack1 and what is the reason that cracks in the latter are usually at right angles to the grain of the wood80 ,the subject1 as ,i understand it1 relates to the cracking of varnishes1 etc41 as experienced in connection with passenger car work1 and as such ,i introduce it for discussion before this association4 ,there are many theories as to the cause of the cracking of paints and varnishes4 ,some are well defined1 others are not satisfactorily explained4 ,i do not anticipate being able to add much to what is already known1 but will advance a few thoughts1 which may call forth the views of others on the subject4 ,the old adage1 8,it takes two to make a quarrel10 is as true when applied to paints and varnishes as it is to individuals4 ,a single coat of either seldom1 if ever1 produces cracks4 ,these make their appearance only after two or more coats have been applied2 consequently1 it is necessary to have a body of color or varnish1 consisting of two or more coats1 before any trouble of this kind makes itself manifest4 ,this being the case1 it follows that the cause of the difficulty must be sought for in the coatings themselves1 either in the quality of the material employed or in the mode of applying them4 ,poor and cheap oils and japans--especially the latter--are a fruitful source of cracking in paint2 but by far the most prolific one1 in my opinion1 is the hurried application of the succeeding coats before the preceding ones are dry enough to receive them4 ,if sufficient time is not given1 cracks will inevitably follow such a mode of procedure4 ,i am of the opinion1 also1 that very little blame can be attached to the wood used in the construction of cars1 as most of it is comparatively well seasoned1 and its expansive and contractive force is not sufficient to cause serious trouble4 ,if green wood was used there might be room for this excuse1 especially where the cracks run in the direction of the grain1 and are large and deep4 ,before pursuing this subject further1 it may be well to examine a little into the theory of the drying of paint4 ,it is purely a chemical process1 not a mechanical one1 as some suppose4 ,paint dries by the evaporation of its volatile parts and its absorption of oxygen2 it is heavier when dried than when in the liquid form1 having attached to itself a sufficient amount of oxygen to very perceptibly increase the weight some #f per cent4 ,the best grades of linseed oil are said to contain from #gj to #hj per cent4 of substance called linoleine1 a resinous and slow-drying oil and acid which imparts to the oil its elasticity4 ,in the process of drying1 contraction occurs4 ,the various atoms of which the coatings are composed move closer and closer together2 and as this contracting force is easier with than across the grain1 cracks at right angles to it are formed4 ,this fact suggests the necessity of so adjusting the elasticity of the various coats that the force exerted in drying may be as nearly equalized as possible1 as their contracting force is continued until all elasticity has left the paint and oxygen ceases to be absorbed1 all the oil acid has disappeared1 and nothing but a hard1 brittle surface remains4 ,under the microscope1 in the first stage of cracking1 the surface presents nothing unusual except that the cracks appear clean cut and sharp on the edges4 ,as months pass by and the surface is exposed to the atmospheric changes of heat and cold1 wet and dry1 the cracks become more numerous2 and in the last stage1 when the oil is entirely destroyed1 the surface assumes the appearance of innumerable rectangular masses1 higher in the center than at the edges1 like small mounds raised by the process of contraction and adhesion4 ,cracking in color coats may1 by careful attention to preliminaries1 be reduced to a minimum1 provided good first-class materials are used and sufficient time is given to each coat to dry4 ,where varnish is to be applied as a finish1 all coatings should have oil in their composition and yet be mixed to dry flat4 ,they should be applied very evenly and thinly1 even if it necessitates an extra coat1 to cover and make a solid job4 ,striping and ornamenting should be done on flat color1 which gives time for hardening1 and fits it for the varnish coats to follow4 ,if work is done in this way1 ,i think very little fear of premature cracking need be entertained2 at least1 not until time and weather have sufficient opportunity to play havoc with its beauty1 and natural decay of the materials themselves necessitates a thorough overhauling and repairing4 ,rubbing varnishes are another source of trouble1 causing the succeeding coats of finishing varnish to show signs of cracking long before they otherwise would1 as it does not agree with the slower drying varnishes usually applied above it1 being of a harder and more brittle character1 serving the purpose of producing a fine1 smooth surface1 but sacrificing the durability of the job4 ,concerning the cracking of varnish1 ,i have not much to say4 ,it seems to me that many of the reasons given above will apply to it as well as to the paint4 ,poor material in the shape of varnish is poor indeed4 ,a first-class article only will give first-class results4 ,it must be elastic1 or it will crack easily and badly1 no matter how good the undercoats of paint may be4 ,good varnish on good color coats will not give any signs of cracking until1 by repeated varnishings1 it has accumulated a thick coating of brittle1 unelastic gum4 ,no painter can say truthfully that his cars never crack1 as it is a natural consequence of decay1 and will come1 sooner or later1 to the best of material4 ,that varnish cracks to a great extent at right angles to the grain of the wood1 ,i think is due1 in some degree1 to the same reasons as given above for the cracking of paint1 and after its elasticity is destroyed by age4 ,vibration has a great effect upon the hard and brittle coating of gum that remains1 coupled with expansion and contraction caused by variations of temperature and the disintegrating influences of the weather4 ,,brush ,,cleaning ,,trough4 ,to make such a trough1 take a piece of planed board1 #f inches wide and #ah inches long1 and nail on side pieces #b inches wide2 this makes the trough4 ,nail this trough on a bench1 box1 or table1 and let one end of it project over the edge of the bench1 box or table1 and place your slush bucket under the projecting end of the trough4 ,to clean a brush1 lay it in the trough1 keep hold of the handle with one hand and with the other take a dull scraper and press the paint out of the brush and shove it off into the slush bucket4 ,the advantage of this method is that you clean the whole length of the brush and save the paint1 instead of daubing it on the walls of your shop4 ,,floor ,,wax4 ,a good preparation for waxing floors may be obtained as follows3 ,yellow ,wax #be oz4 ,yellow ,ceresin #be oz4 ,burnt ,sienna #e oz4 ,boiled ,linseed ,oil #a oz4 ,turpentine #a gill ,melt the wax and ceresin at a gentle heat1 then add the sienna previously well triturated with the boiled linseed oil1 and mix well4 ,when the mixture begins to cool add the oil of turpentine1 or so much of it as is required to make a mass of the consistence of an ointment4 ,the burnt sienna may be used in smaller or larger quantity1 according to the tint desired1 or may be replaced by raw sienna1 etc4 ,,damar ,,varnish4 ,never use damar varnish over oil paint4 ,never put oil in damar varnish4 ,see to it that your dealer does not draw it into an oil measure1 and that you do not keep it in an oily or rancid can4 ,why8 ,because it is liable to dry tacky under any of the above conditions4 ,,stencil ,,staining4 ,ordinary plain staining can be done by almost any one who can handle a common paint brush4 ,yet it is not generally known1 even to skilled decorators1 that stain1 on sound white wood1 evenly planed1 can be applied to imitate the most intricate of artistic designs2 such1 however1 is the case4 ,a decorator if asked to imitate in stain on white wood a piece of parquetry or inlaid wood1 might reply that such a thing was impossible1 alleging as a reason that by employing liquid stain in the same way as a distemper--that is to say1 by the aid of a stencil to reproduce the pattern--the stain1 as soon as it became absorbed would be found to 8run10 and so giving to the pattern imitated an indistinct or blurred edge4 ,yet the most elaborate patterns are successfully stenciled direct on to pine1 and the figured work on this wood has invariably come out distinctly and naturally as to be almost indistinguishable from the inlaid work they have so successfully sought to imitate4 ,the great difficulty to be overcome in stenciling with stains is undoubtedly the 8running10 but with a very little care and patience this can be easily obviated4 ,say a painter has a border to stain round an ordinary pine floor in imitation of a selected pattern of parquetry1 the colors of which are generally in two or more shades of oak1 the first thing he has to do after having properly prepared the floor--namely1 making the part to be stained as smooth and as even as possible by filling up the crevices and nail holes--is to stain over the work in the lightest shade shown in his pattern2 this can be done by diluting the ordinary liquid oak stain with water to the desired tint4 ,next let him cut out of a piece of lining1 paper in the form of a stencil--the pattern he has to reproduce on the floor--care being taken to oil the stencil in order to strengthen and preserve it4 ,he should then mix the stain into a stiff paste or to the consistency of a distemper used for ordinary stenciling2 place a portion of this mixture on a smooth piece of wood1 take up a very small quantity of it on a stencil brush and apply through the stencil plate in the same way he would a distemper4 ,if a very dark shade is required apply more stain before removing the stencil plate4 ,,painting ,,brick4 ,objections3 ,chipping of the brick1 and scaling of the paint4 ,the chipping may be on account of defective brick or otherwise4 ,scaling may be caused by poor paint1 or by dampness in the brick4 ,when called upon to paint brick1 first see if the brick is dry4 ,see that there is no place where water leaks in from the roof or cornice and soaks into the brick4 ,a brick wall may look dry and still be damp inside4 ,if you want paint to stay on brick1 give the brick time to dry1 after heavy and driving rains4 ,it is always a bad plan to paint brick in the fall1 after the autumn rains4 ,the only real safe time to paint a brick wall is in summer1 after a spell of hot1 dry weather4 ,you can not always wait for that1 but you can tell the owner that it is unsafe to paint a brick wall until it has had time to dry4 ,why8 ,because in winter the moisture1 which is shut in by the paint1 will freeze1 expand and throw off the paint or chip the brick4 ,prime brick work with a thin coat of good paint mixed in pure linseed oil4 ,flow on the priming freely1 and brush it well into the brick2 for second coat1 whatever paint you use1 put in at least one-fourth white lead2 make this coat one-third turps1 and rub it well out4 ,give it a good body4 ,for the last coat1 use your color regardless of lead1 unless you want it in to get your color4 ,if you want a gloss1 mix this coat with all boiled oil1 and flow on4 ,for flat1 if your colors are ground in oil1 use one-fourth oil and three-fourths turps1 and if it don't show flat when painted1 it will flat in a short time4 ,the last coat may admit of more oil or may not take as much1 and flat4 ,this depends upon the work when started1 etc4 ,some painters make brick flating by breaking up the pigment in japan1 and elastic varnish for a binder1 and thin with turps4 ,i prefer the oil for a binder1 and have made the last coat one-half oil1 and had a nice flat in a few weeks4 ,i always ridicule the idea of painting brick flat1 because it will not stand as long as an oil finish1 and the oil finish will be flat enough in a few months4 ,,cleaning ,,up ,a ,,room4 ,now1 if ,i were going to teach a boy to clean up a room1 the first thing would be how to prepare himself for the job4 ,in the first place1 he wants a damp sponge with a string through it to tie over his head1 to hold the sponge over his mouth and under the nose to catch the dust1 because it is a great deal more pleasant and a 8sight0 more healthful to carry lime and other dust in a sponge than in nostrils and windpipe4 ,then he wants a cotton cloth cap1 large enough to draw down over his head and ears1 bib overalls and jacket to button close about the neck and he is well fixed4 ,in such a rig he may look peculiar1 but he had better look like a monkey than to skin his nostrils with dust and fill his ears and hair with lime1 sand and sawdust4 ,for tools1 he needs a good1 new1 fine corn broom1 a wide bristle sweeper 7a ten or twelve-inch paper-hanger's smoothing brush will do71 a good duster1 a sharp tool to pick out corners1 a two-inch chiseled brush for corners4 ,a sprinkler only turns dust to mud1 to dry in a few hours and become dust again4 ,when you have swept the floor with your broom and dusted your wood-work and gone over the floor carefully with your wide bristle brush to take what you brushed from the casings and what the broom left on the floor1 look at the air across this ray of sunlight2 it is full of dust1 soon the most of it will settle on the floor and casings and window stools4 ,what then8 ,wait till it settles and wipe it off with a cloth and don't forget the tops of the doors and casings4 8,why use a cloth80 ,well1 if you go in and begin to use a dust brush after the dust settles you throw a portion of it in the air again and it will settle on the work4 ,and by the way1 ,i want to say that a wiping cloth is a very important article for a painter to carry4 ,it always makes me 8red hot0 to see a painter 7871 after he has daubed a key shield or a hinge1 try to wipe it off with his thumb2 ,i could forgive him for the daub2 the best man in the trade may sometimes do that1 but the man who will rub part of it off with his thumb and let the rest dry ought to be sent off the job or suspended long enough to take a lesson in the art of wiping off daubs4 ,i want to say further that every well regulated dusting kit ought to have a dust pan hitched to it in some way4 ,it will save sweeping the dust out on the steps to be tracked in again1 save the time you would lose in sweeping the dust over thresholds1 or save the time it would take to borrow one4 ,,paste ,,for ,,labeling ,,on ,,tin4 ,make a stiff flour paste in the usual way1 with flour and water1 then add #b ounces tartaric acid1 and #a pint of molasses2 boil the mixture until stiff1 and put in ten or fifteen drops carbolic acid4 ,,another4 ,wheat flour #a pound ,alum #b drams ,borax #b drams ,hydrochloric acid #a ounces ,mix the flour1 alum and borax in the usual way1 to a smooth paste in water1 then add the acid and cook in the usual way with hot water4 ,,to ,,make ,,tents1 ,,etc41 ,,weatherproof4 ,to prevent tents1 wagon covers1 etc41 from rotting dissolve #d ounces sulphate of zinc in #aj gallons of water1 then put in one-fourth pound sal-soda1 stir well until dissolved and add one-fourth ounce tartaric acid4 ,let the cloth lie in this one day and night and hang up to dry4 ,don't wring it4 ,,to ,,paint ,,on ,,canvas ,,or ,,muslin ,,without ,,sizing4 ,first stretch1 then wet the cloth4 ,wipe off the drops and letter while the cloth is damp with color mixed with japan and turps4 ,,to ,,paint ,,on ,,zinc4 ,a difficulty is often experienced in causing oil colors to adhere to sheet zinc4 ,boettger recommends the employment of a mordant1 so to speak1 of the following composition3 #a part of chloride of copper1 #a of nitrate of copper and #a of sal-ammoniac are to be dissolved in #fd parts of water1 to which solution is to be added #a part of commercial hydrochloric acid4 ,the sheets of zinc are to be brushed over with this liquid1 which gives them a deep black color2 in the course of #ab to #bd hours they become dry1 and to their now dirty gray surface a coat of any oil color will firmly adhere4 ,some sheets of zinc prepared in this way1 and afterwards painted1 have been found to withstand all the changes of winter and summer4 ,,painting ,,blinds4 ,when painting a blind never turn it upon edge when cutting in the inside of the rail1 because the paint will be likely to run into the pivot-holes and stick the slats4 ,when you set a blind up to dry1 set the bottom end up1 and be sure to have the slats lie flat side up4 ,why8 ,because the bottom end of the blind when hung is more apt to drag on the window sill than the top end is to touch the jam above4 ,if set bottom end up1 that end will dry solid and if there are any sags it will be at the top4 ,keep the slats flat side up to avoid flat edges4 ,,treatment ,,for ,,hardwood ,,floors4 ,first see that the floor is clean and smooth2 then give it a coat of best oil1 with japan sufficient to make it dry2 cut the japan in turps4 ,then put on a good mineral paste1 filler in the usual way by rubbing the filler well into the wood2 then clean off all the surplus4 ,when dry1 sandpaper and putty up well with colored1 hard putty1 and put on a coat of shellac2 if too glossy1 rub down with powdered pumice and oil4 ,be careful to have the putty match the floor4 ,,whitewash ,,for ,,outside ,,work4 ,take one-half pound of fresh burnt lime4 ,dip it in water and let it slack in the open air4 ,melt two ounces of bagundy pitch by gentle heat1 in six ounces of linseed oil2 then add two quarts of skim milk while the lime is hot1 add the mixture of pitch and oil1 a little at a time while hot1 and stir it in2 then add three pounds of bolted whiting and stir4 ,add more milk if too thick for the brush4 ,,the ,,strainer4 ,don't forget to use the strainer4 ,after you have put in your best licks to clean up and sandpaper a job1 it is the height of folly to daub it up with paint full of skins and specks4 ,oil paint is liable to be 8skinny0 in the keg4 ,miller's bolting cloth makes a good strainer1 and common cheese cloth at five cents a yard does very well for ordinary purposes4 ,,to ,,kill ,,grease ,,spots ,,on ,,wood4 ,use a wash of saltpeter or a thin lime wash1 then rinse with clear water4 ,treat blacksmith's smoke in the same way4 ,,kalsomine4 ,to please an old friend ,i give the following recipe for kalsomine4 ,he says it is good4 ,i never used it1 so you will have to take his word for it4 ,fifteen pounds good paris white1 mixed up in lukewarm water1 add one-fourth pound good glue1 dissolved in the usual way1 strain through a fine sieve1 then dissolve one-fourth pound white hard soap in hot water and one-half pound of alum in cold water and mix4 ,add water to give the right consistency for putting it on the wall4 ,,to ,,take ,,off ,,the ,,paint4 ,if you have an old1 roughly painted door to cut down for a fine job1 don't fool away your time1 and fill your nose with dust1 trying to do it with dry sandpaper1 but take the door off its hinges1 lay it flat on horses1 and keep the surface under your sandpaper wet with benzine1 and you can do in an hour what would otherwise take half a day4 ,the benzine softens the paint1 and keeps the paper from gumming up4 ,if it is not practicable to take the door off the hinges1 put your benzine in a small spring-bottomed oil can and squirt it on the work as needed to keep the paper clear of paint and make it cut fast4 ,wipe off the loose paint with rags4 ,it works equally well on old varnish4 ,try it once on an old carriage body4 ,if the old paint is extra hard use a mixture in equal parts of benzine and ammonia4 ,,cleaning ,,silver1 ,,brass ,,or ,,copper4 ,in the course of our work we often meet with tarnished metal ornaments1 which must be cleaned to make our work look well4 ,this preparation is a good one3 ,paris white 7fine7 #a pound ,carb4 magnesia #b drams ,cyanuret potash #g drams ,sulph4 ether #c drams ,crocus martis #a dram ,soft water #a ounces or sufficient to make a stiff paste4 ,mix by rubbing1 add the paris white last1 then stir into the water4 ,apply with a rag or sponge1 and rub dry and polish with a rag or canton flannel4 ,,why ,,do ,,wall ,,papers ,,crack8 ,some papers are more inclined to crack than others1 because they are made of more brittle material4 ,when selecting a paper for a whitewashed wall or ceiling1 take a pattern which feels soft and pliable4 ,papers which crackle or rattle when crumpled in the hand are liable to crack4 ,papers which stretch or expand the most when wet are the most apt to crack2 because when they dry and shrink the pull is so great that the fibers give away1 if great care is not taken in putting it on4 ,cracking may be the fault of the paper hanger4 ,he may use his paste too thick1 or too thin1 or put on too much or too little4 ,paste should be put on even and of the proper consistency and thickness to cement the paper to the walls4 ,paper is more liable to crack on rough and uneven walls4 ,on a smooth wall1 if properly put on1 it becomes1 as it dries1 so fastened to the plaster that it cannot contract enough to break the fibers1 but on a rough and uneven wall there are apt to be loose places where the air gets in1 and the contraction of the paper so weakens the fibers that it cracks4 ,now1 if the paper hanger will be careful to secure the paper uniformly by using sufficient paste on rough places to hold the paper1 and be careful to brush or pound the paper down firmly1 he will greatly reduce the chances of cracking4 ,a roller can not be depended upon for a rough wall4 ,too much or not enough sizing on a wall may be a cause of cracking4 ,hot paste1 which thickens as it cools1 is not safe to use on such walls1 because it may appear just right when hot but will be too thick when cool and cause the paper to crack4 ,,oil ,,size ,,for ,,whitewash4 ,oil size is good to use on a whitewashed ceiling before papering if you don't overdo it4 ,a friend of mine thought1 if a little was good1 a great deal would be better2 so he gave his ceiling two flowing coats of clear oil1 and when dry put on his paper1 but it did not stay4 ,why8 ,because he put on so much oil that he made a glossy surface and the gloss could not hold the paste4 ,an oil size on whitewash is all right if used right4 ,it is a mistake to use clear oil2 #a pint of oil1 #a pint japan and #a quart turpentine is better1 because it will penetrate further1 dry faster1 flat the surface1 and have sufficient binding power to hold the whitewash from coming off4 ,don't size a wall with paste4 ,paste and whitewash don't go well together4 ,the fact that you have to size your wall to make paper stick proves this4 ,oil size should dry hard before the paper is put on4 ,i find glutol1 manufactured by the ,arabol ,manufacturing ,co41 ,no4 #ac ,gold street1 ,new ,york1 a first-class substitute for glue in wall size and kalsomine1 and prefer it to glue1 because it will not attract flies1 nor spoil by standing in hot weather1 and can be mixed in cold water4 ,,to ,,clean ,,brick4 ,the white powder which comes on brick can be removed by sponging with a mixture of muriatic acid and water1 equal parts4 ,wash the brick in clear water and let them become well dried before painting4 ,,to ,,clean ,,tarnished ,,zinc4 ,mix #a part sulphuric acid with #ab parts water and rub the zinc with it with a rag1 then rinse with clear water4 ,,to ,,gild ,,on ,,wood4 ,first get a good body and a smooth surface4 ,the work should be flat with three coats at least on wood1 and not less than two on iron or tin4 ,the best size for outside work is oil gold size 7fat oil71 mixed with a little medium chrome yellow toned down with white lead2 put in a very little japan gold size1 and thin to workable consistency with turps2 let it stand until tacky4 ,it must be hard enough to prevent rubbing up or sweating4 ,the method with the tip1 gold knife and cushion requires considerable dexterity as well as practice to do good and rapid work4 ,the tip1 or lifter1 is only a few camel hairs glued between two pieces of paste board1 or other material4 ,the knife is a long narrow flexible blade1 and the cushion is made on a block1 #f by #h inches1 first covered with a thickness or two of woolen cloth1 and finished by stretching a piece of chamois skin over it4 ,hold the gold book in the left hand1 and turn back a leaf of the book1 leaving the gold exposed on the next leaf2 press the leaf of gold against the cushion and it will remain4 ,then straighten out wrinkles by a slight puff of the breath from above1 cut the leaf into the required size with the gold-knife1 and lift the leaf to its place with the tip4 ,the tip will lift the gold better if occasionally drawn over the hair of your head4 ,another way to prepare the leaf3 ,cut the book through at the binding with a sharp knife1 which will leave all the leaves free and separate4 ,now take up the top paper or cover1 which will leave the gold leaf on the book2 lay the paper on a board and rub it over with a piece of wax1 paraffine candle1 or a piece of hard soap2 either will do4 ,place the waxed side on to the gold1 and smooth the paper down gently2 repeat until you have as many leaves prepared as you need4 ,then1 with good sharp shears cut them in such shape and size as will best cover your work1 and not waste the gold4 ,lay the pieces on your board1 gold side up4 ,when ready1 lay the pieces on the work1 rub down with the fingers1 or a ball of cotton1 take off the paper and the gold will stay on the size4 ,in this way the gold adheres quite firmly to the waxed paper1 and the size must have a strong tack to take the gold off the paper4 ,experts lay the leaf directly from the book1 and you had best learn to do it that way for general work1 if you spoil half a dozen books while catching on to the knack of it4 ,try it this way3 ,now1 here is a stripe half an inch wide1 and the size is ready for the gold4 ,now hold the book flat in your left hand with your thumb on top1 hold the top paper firm with your thumb4 7,if you let it slip1 the leaf under it will be spoiled47 ,if the stripe is one-half inch wide1 turn back enough of the paper to ex-pose three-fourths of an inch of the gold leaf1 crease the turned back cover down with the fingers of the right hand1 and hold it with the thumb on the back4 ,now cut the leaf with the finger-nail1 first rubbing it dry on your pants2 then turn the book carefully and quickly over on to the stripe1 and press the gold down gently by pressing the book4 ,then turn down more of the paper1 and repeat until that leaf is gone2 then take another and so on4 ,if the book gets too limber towards the last to handle well1 have a square of cardboard to lay under the book next to the hand2 you will find this is a help even with a full book4 ,you will1 perhaps1 waste more gold in this way than by the transfer method1 but you will more than make it up in time1 if you become expert4 #ast4 ,be sure of a good foundation4 #b;d4 ,have your gold size right1 and study to know when the tackiness is just right4 ,if your surface is not perfectly free from tackiness1 pounce with a bag of gilder's whiting before putting on the size1 to keep the gold from sticking outside of the size4 ,when you lay the leaf from the book and cut the leaf with your finger nail1 turn the ball of the finger toward you and the nail towards the gold1 and run the nail close to the edge of the turned paper2 then1 if the nail is not too long1 the end of the finger will hold down the paper while the nail cuts the leaf4 ,to prepare paper for the transfer method ,i rub the paper on my hair1 then lay it on the gold leaf1 gently rub it with my finger tips1 and the leaf adheres to the paper4 ,it can then be cut with shears in any desired shape to cover the work4 ,some gold leaf is now packed in paper so prepared that the leaf will adhere to one side of it and can be taken up in that way4 ,some gilders take up the leaf by wetting the paper on the back with turpentine to make the leaf adhere to the other side1 when it can be cut to the required shape with shears4 ,this is done instead of waxing the paper4 ,,stir ,,your ,,paint4 ,it isn't always your material that makes a bad job1 but it seems an easy matter to make even the best of paint the scapegoat for bad work4 ,the heedless workman who primes a plastered wall without sweeping down the loose sand1 or is careless about taking the sand and dust from the tops of casings and the floors1 will1 if he stops to examine1 find some in the brush and some of it in his paint pot2 and then1 to cover up his carelessness1 he can lay the blame on the paint4 ,the careful painter will1 when using heavy pigments1 carry a paddle1 and not neglect to use it4 ,to prevent white lead and other heavy pigments from settling in the pot the paint must be well mixed1 and kept mixed by stirring with a paddle as often and as much as may be necessary to keep the oil or other vehicle1 and the pigment well incorporated4 ,no one out a novice1 or a careless painter will permit a sediment to accumulate in the bottom of his pot2 no matter whether the pigment is coarse or fine2 or whether the vehicle used is linseed oil1 turpentine or benzine4 ,the painter who goes to work without a stirring paddle in his pot will be liable to do uneven work1 and find more or less sediment in the bottom of his paint pot at quitting time1 because there is no white lead made which does not contain more or less particles sufficiently heavy to commence settling the minute the paddle stops1 and go to the bottom of a pot of flating1 as ordinarily mixed1 inside of thirty minutes1 and other particles of smaller size will follow later4 ,if the pigment is mixed with oil the process of settling is slower1 but no less sure to take place1 and continue1 if undisturbed1 until clear oil stands on top of the pigment4 ,don't try to use your brush for a paddle2 it isn't a good tool to stir paint from the bottom4 ,paint made of heavy pigment must be frequently stirred with a paddle to keep it of uniform consistency1 but this operation is too often neglected4 ,for instance1 a man starts out with a full pot in the morning and neglects to stir his paint as he works1 hence the heavier particles commence to settle and soon get below the dip of the brush1 and by continual settling keep out of the reach of it until they reach the bottom4 ,when the paint is nearly all out1 and the sediment at the bottom don't work well1 he refills his pot1 leaving in the coarse pigment4 ,at night the boss finds an inch or less of coarse paint in the bottom of the pot1 and without further inquiry complains that the lead is sandy4 ,another instance3 ,the paint for a job stands mixed over night2 the painters fill their pots from time to time during the day1 but never stir the paint from the bottom1 hence the last pot or two filled will have all the coarse pigment of the batch4 ,there are cases1 ,i admit 7too many of them71 where not only white lead1 but dry colors and colors in oil1 are too coarse to work well1 but the best white lead and heavy colored pigments in oil or turpentine are liable to be called sandy unless frequently stirred by the painter4 ,,to ,,make ,,cherry ,,stain4 ,take annotto1 #d ounces1 and clear rain water1 #c quarts4 ,boil in a brass or copper kettle1 new tin or galvanized iron will do1 until the color of the annotto is imparted to the water2 then add ounce potash1 and keep the mixture hot for #cj minutes2 then1 as soon as cool enough to handle1 it is ready for use4 ,now1 have the work free from dust1 and spread on your stain with a brush or sponge and rub it well into the wood4 ,when the work is dry1 rub lightly with fine sandpaper1 because the water stain will raise the grain unless the wood has been filled4 ,you can suit the taste of the owner as to depth of color by repeating the operation1 or by making the stain weaker or stronger1 as the case may require4 ,,varnish ,,stains4 ,these often come very handy to the painter1 not only in toning up new wood1 but in renewing the freshness of old work4 ,,mahogany ,,varnish ,,stain4 ,spirits #a gallon1 gum sandarac #a pound1 shellac pound1 venice turpentine #b ounces1 dragon's blood #d ounces4 ,,walnut ,,varnish ,,stain4 ,shellac #a pounds1 spirit #a gallon1 ,bismarck brown #a ounce1 nigrosine ounce4 ,you can1 by varying the proportions of the two colors1 make the shade as you like it4 7,spirit in this connection means either wood or grain alcohol47 ,,mahogany ,,varnish ,,stain4 ,spirits #a gallon1 shellac #a pounds1 ,bismarck brown ,r ounce1 nigrosine #cj grains4 ,more nigrosine will make the stain darker4 ,if this is too thick to work well1 thin with spirits4 ,,to ,,make ,,new ,,oak ,,look ,,old4 ,sponge it with a strong hot solution of common soda in water4 ,this will raise the grain1 hence it will require cutting down with sandpaper4 ,,dark ,,stain ,,for ,,oak4 ,make a solution of bi-chromate of potash1 #a ounces to #b quarts soft water4 ,lay on the solution with a good clean sponge and keep the wood wet with the solution until it is dark enough to please you4 ,then wash off the potash with clean soft water4 ,,another4 ,apply with a brush1 strong aqua ammonia until you get the desired shade4 ,,red ,,saunders ,,stain4 ,fill a bottle full of red saunders1 then fill the bottle with either wood or grain alcohol4 ,the more red saunders you put in1 the stronger will be the stain2 you can dilute it for the lighter shades4 ,the longer it stands1 the more color will be extracted4 ,always strain through muslin before using4 ,red saunders makes a good cherry stain4 ,when used on the bare wood it requires no binder1 but when used over filled or oiled wood1 put in one-fourth as much shellac varnish as you have stain1 to act as a binder for it4 ,if you want it to act as a filler as well as a stain1 for pine or other close-grained wood1 add #a pounds corn starch1 to each gallon of the mixture of stain and shellac4 ,try a little and if it rubs up when dry1 add more shellac4 ,you can mix red saunders stain with asphaltum varnish1 to make black walnut and mahogany stains1 using more or less of either to give the desired shade by using turpentine to make them mix4 ,the asphaltum acts as a binder in place of the shellac4 ,the practical painter can get the shades he wants by experimenting on this line4 ,,to ,,change ,,the ,,color ,,of ,,walnut ,,to ,,dark ,,mahogany4 ,first give it a coat of very thin asphaltum varnish1 then1 when dry1 give it a coat of red saunders and shellac4 ,you can mix the red saunders and asphaltum stain with any turpentine varnish1 or with spirit varnish1 if you use turpentine to make them mix4 ,burnt umber and burnt sienna in oil or varnish make a walnut stain4 ,use but little of the pigments in proportion to the oil4 ,too much pigment gives the work a muddy color4 ,,natural ,,wood ,,finishing4 ,clean up all soiled places on the wood4 ,to be sure of a good job on open grained wood use a ,bliss ,rock ,wood ,filler4 ,if you use a ready made filler1 thin as per directions on the can4 ,whatever filler you use1 put it on with a good brush4 ,as soon as the filler begins to set1 or show flat1 commence to rub it into the grain with a pad made by gluing a piece of harness leather onto a block2 always when practicable rub across the grain of the wood4 ,for round work have a long piece of leather to draw back and forth around the work4 ,remember the main thing at this stage is to get as much of the filler as possible rubbed into the wood4 ,another important point is to take off the surplus filler before it becomes too hard to wipe off1 and another point is to wipe off the surplus filler and leave the pores of the wood level full4 ,hence1 it is important that the filler does not dry too fast1 that the painter puts on no more filler at a time than he can handle before it dries1 and that in wiping off the surplus filler he works his rags across the grain4 ,some very open grained wood requires a second application of filler to make a good job1 or at least to be looked over and touched up4 ,the filler should have at least two days to dry4 ,when dry go over it lightly with fine sandpaper to take off all particles of filler left on the surface4 ,walnut1 mahogany1 chestnut1 oak1 ash and butternut may be classed as open grained woods1 which need to be well filled with paste filler colored to match the color of the wood4 ,when the filler is dry put on a coat or two of white shellac and rub down smooth with ,no4 #a sandpaper1 and follow with two or more coats of hard oil or varnish1 as you like2 give each coat plenty of time to dry and rub each coat with curled hair or hair cloth1 except the last coat4 ,if you want an egg shell or half gloss1 rub the last coat with pulverized pumice stone and raw linseed oil4 ,if you want a dead finish rub down with pulverized pumice stone and water instead of oil4 ,if you want a polish1 first rub with the pumice stone and water2 then with rotten stone and water1 and polish with rotten stone and oil1 or furniture polish and rotten stone4 ,if you want a gloss finish1 flow on the last coat and omit rubbing4 ,treat the close-grained woods as above stated1 with the exception of the filler4 ,the shellac also may be omitted1 but it will take at least one more coat of hard oil or varnish for the job4 ,cherry1 sycamore1 maple1 birch1 gumwood1 redwood1 cypress1 pine1 whitewood1 poplar and hemlock are all close-grained woods1 and need no paste filler4 ,pine especially should have a coat of shellac to keep back the pitch4 ,for an extra fine job of gloss finish1 rub next to the last coat with pumice stone and water1 flow on a coat of good varnish1 and leave it in the gloss4 ,in this case great care is required in cleaning the work to keep it from showing specks4 ,it stands the beginner in hand to be careful and not use his shellac too heavy to work well2 shellac has good body and an apparently very thin coat will be a good heavy one4 ,to do a fine job the room and work must be clean1 the clothing free from dust1 and the work1 brushes and varnish free from specks4 ,if specks show on your gloss coat call a halt1 and find where they come from4 ,soft cotton rags are the best material for wiping off surplus filler4 ,a felt pad of convenient size to handle is the best for rubbing work4 ,get one at the furniture shop4 ,for a cheap job omit the water rubbing1 and rub with pumice stone and raw oil4 ,,to ,,make ,,bleached ,,or ,,white ,,shellac ,,varnish4 ,take powdered white shellac #a pounds1 best grain alcohol #a gallon4 ,add the gum to the alcohol1 set it in a warm place and shake your jug or bottle occasionally4 ,don't put it in tin or iron2 either of them will discolor it4 ,you can hasten the process by setting your jug in a sand or water bath1 and gently heating it2 or set it by the stove1 or in the sunshine4 ,to make the common orange shellac of commerce1 dissolve #a pounds orange shellac in #a gallon methylated spirit or grain alcohol4 ,this will dry in ten or fifteen minutes1 and makes a hard lustrous varnish when dry1 and stands the weather better than most gum varnishes4 ,it makes a turbid liquid of orange brown hue and dries rather a pale brown4 ,for use on dark wood this is equal to the white shellac1 if not superior4 ,,to ,,color ,,putty4 ,there is no use in trying to color common putty to match the color of natural wood4 ,the whiting in it will not take clear tints4 ,use lead putty1 which you can tint with raw sienna for pine1 yellow ochre for oak1 burnt umber and burnt sienna for walnut1 and burnt sienna for mahogany4 ,better have the putty too light than too dark4 ,,spots ,,on ,,paint4 ,poor lumber and thin painting are often the cause of spots on paint1 especially on two-coat work4 ,on cross-grained and other extra-porous places more of the oil sinks into the wood than on the general surface1 and the result is flat places in the paint1 which fade sooner than the glossy paint2 hence1 the work looks spotted4 ,to provide against this kind of spotting use more care in priming and see that all extra-porous places are well filled with the prime coat1 or touch them up before the second coat goes on4 ,a little extra work with the brush when putting on the prime will save trouble4 ,another cause may be traced to the practice of putting on a coarse dark priming coat1 which will show through in places where the paint is thinnest4 ,mildew1 or fungus growth1 is another cause4 ,this sometimes comes from the use of too much japan1 poor or fat oil1 or when the paint dries tacky or soft4 ,adulteration of linseed oil with mineral and other non-drying oils1 has a tendency to make paint dry soft4 ,linseed oil1 kept for a few days in an old sour tank or in an old rancid can in the paint shop1 is liable to cause fermentation to take place1 which may result in mildew in damp weather in shaded places4 ,when an oil can smells sour1 or there is a deposit of foots at the bottom1 it is unfit to keep oil in4 ,another cause of spotting may be found in insufficient and improper brushing or spreading the paint2 especially the priming1 which requires as much care in putting on as any other coat on the job4 ,for instance1 here is a job which shows 8laps40 ,now1 if this prime is right when it is put on single1 it is wrong when it is put on double1 because1 where the laps are1 the work has at least one more coat than the balance of the job1 hence the paint is liable to fade spotted4 ,,porcelain ,,finish4--,,china ,,gloss4--,,gloss ,,finish4 ,all different names for about the same thing4 ,to make a fine job3 ,if the work is new1 see that it is smooth1 free from dust and stains4 ,then give it a coat of priming1 put on thin1 so as not to show brush marks1 and rub down with ,no4 #j sandpaper4 ,next1 get a good body with keg lead1 mixed in turpentine and a very little linseed oil2 put on thin coats1 so as not to show brush marks2 use a fitch brush1 or at least a fine bristle chiseled brush4 ,when dry1 rub down with sandpaper and flow on a coat of thin white shellac4 ,this is to keep back the oil in the lead coats1 and prevent chemical action between the lead and zinc coats4 ,next1 put on two or more coats of ,french zinc ground in damar varnish2 enough at least1 to get a clear white4 ,thin with turps and a little damar varnish1 and put on thin enough to show no laps or brush marks4 ,then put on a coat or two of ,french zinc ground in damar varnish1 thinned with #a part damar varnish and #b parts turpentine4 ,next put on a coat of damar varnish mixed with a little zinc ground in damar1 just enough to make the varnish white4 ,flow on a coat1 and be careful that it does not run on your work4 ,to avoid runs always commence at the top of a panel with a full brush and work down so as not to have a surplus in the lower corners of the panels2 this applies to all parts of the work4 ,it is quite a knack to put on a full coat of this varnish and zinc1 and not have it run4 ,in all cases put on enough zinc coats to make a clear white before you put on the varnish4 ,the small quantity of zinc is put in the varnish to take off the yellow tinge1 and to keep it from turning yellow4 ,use lead putty4 ,see recipes to make it on another page4 ,,another ,,way4 ,very hard and white1 for parlors4--,to prepare the wood for the finish1 if it be pine1 give one or two coats of the 8,varnish--,transparent for wood10 which prevents the pitch from oozing out1 causing the finish to turn yellow2 next1 give the room1 at least1 four coats of pure zinc1 which may be ground in only sufficient oil to enable it to grind properly2 then mix to a proper consistency with turpentine or naphtha4 ,give each coat time to dry4 ,when it is dry and hard1 sandpaper it to a perfectly smooth surface1 when it is ready to receive the finish1 which consists of two coats of ,french zinc ground in1 and thinned with damar varnish1 until it works properly under the brush4 ,,lead ,,poisoning--,,how ,,to ,,avoid ,,it4 ,white lead may enter the human system in three ways1 to-wit3 ,through the stomach1 the lungs and the skin4 ,in other words1 it may be eaten1 inhaled or absorbed1 hence the stomach1 lungs and skin should each be carefully guarded against it4 ,to guard the stomach1 through which you are in the most danger of taking in the poison1 make it a rule to keep the mouth closed as much as possible when using white lead1 and especially when sandpapering4 ,make it a rule to never eat or drink without first carefully cleansing your lips1 and carefully removing the paint from your hands before eating4 ,tobacco chewers1 who carry tobacco in their pockets1 are in especial danger of lead poison1 if working in paint1 because the tobacco becomes more or less poisoned with lead from the fingers1 if the painter is not careful to clean his hands before taking a chew4 ,there is no great danger from inhaling white lead1 except when sandpapering1 or when dusting after sandpapering4 ,it is a pretty good thing to carefully guard the nose with a damp sponge while sandpapering1 and to carefully free the nostrils from lead4 ,there is no danger of poisoning by absorption through the skin1 unless the painter is careless4 ,when ,t see some men at work1 ,i wonder how they can possibly escape lead poisoning4 ,their clothing glazed with oil paint1 their hands daubed to the wrist by grasping the brush by the head1 instead of by the handle2 or by general carelessness in mixing and handling paints4 ,,symptoms ,,of ,,lead ,,poison4 ,tired feeling1 wakefulness at night1 neuralgic pains1 8shaky0 hands1 constipated bowels1 bad taste in the mouth1 and pain in the bowels1 a blue edge on the gums1 and a coated tongue4 ,if you get the colic1 see a doctor2 for the other symptoms1 get away from paint for a while if possible1 and take the following3 ,iodide of potash1 oz42 syrup sarsaparilla1 #h oz4 ,dose3--,teaspoonful three or four times a day in half a cup of milk4 ,eat graham mush and drink milk4 ,,to ,,finish ,,furniture ,,and ,,other ,,work ,,in ,,sixteenth ,,century ,,oak4 ,first fill the wood with any good filler4 ,fill it well1 then take ,vandyke brown #c parts1 and burnt sienna #a part1 and mix to a stiff paste with boiled oil and japan1 and thin with turpentine1 until you can brush it on the wood1 and not have it look dauby or muddy4 ,give the work a light coat1 and brush it out well and carefully4 ,too much pigment will make your work too dark4 ,wherever you want the light or worn spots to appear1 wipe off the stain with a cloth1 and with a badger blender carefully blend the stain into the edges of the worn or light spots4 ,don't stain too much at once1 for fear your stain may set so you cannot wipe out and blend4 ,when the stain is dry1 sandpaper lightly with ,no4 #j paper4 ,finish with two coats rubbing varnish1 or with hard oil finish4 ,polish with rotten stone and raw oil4 ,a ,,superior ,,glue 7,,waterproof74 ,a very superior article may be made by dissolving #c parts of india rubber in #cj parts of naphtha2 heat and agitation will be required to effect the solution2 when the rubber is completely dissolved1 add #fd parts of finely powdered shellac1 which must also be heated in the above mixture until all is dissolved4 ,this mixture may be produced in sheets like glue by pouring it while hot upon plates of metal1 where it will harden4 ,when required for use1 it may simply be heated in a pot till soft4 ,two pieces of wood or leather1 joined together with this glue1 can scarcely be sundered without a fracture of the parts4 ,a ,,valuable ,,cement4 ,we find the following recipe good3 ,the compound of glycerin1 oxide of lead1 and red lead1 for mending cast-iron that has been fractured with the happiest results4 ,it takes some little time to dry1 but turns almost as hard as stone1 and is fire and waterproof4 ,for mending cracks in stone or cast-iron ware1 where iron filling cannot be had1 we think it is invaluable4 ,take litharge and red lead1 equal parts1 mix thoroughly and make into a paste with concentrated glycerin to the consistency of soft putty1 fill the crack and smear a thin layer on both sides of the casting so as to completely cover the fracture4 ,this layer can be rubbed off1 if necessary1 when nearly dry1 by an old knife or chisel4 ,,linseed ,,oil ,,and ,,iron ,,rust4 ,the oleaginous principle of linseed oil is said to be in the nature of neutral salts called linolein1 consisting of linoleic acid combined with a glycerine base4 ,linolein is said by some writers to constitute three-fourths of the volume of linseed oil1 and that the drying properties of the oil reside in the acid principle of the linolein2 that is1 linoleic acid has the property of attracting and combining with oxygen to form the substance known as dry linseed oil4 ,this acid is said to be a compound of several different acid principles1 combined in definite proportions4 ,writers seem to disagree as to what the acids are1 and in what respect they differ from the acid properties of the non-drying fixed oils1 but that is a question which need not be discussed here4 ,the glycerine base of linolein seems to be common to all fixed oils1 and is set down as an oxide consisting of one equivalent of water and five of oxygen2 hence the affinity between the linoleic acid and its glycerine base4 ,linoleic acid1 like other acids1 has an affinity for alkalies and the ordinary metallic oxides4 ,it unites with them1 forming neutral compounds4 ,this affinity is said to be electrical2 the alkalies and oxides electro-positive1 and the acid electro-negative4 ,the greater the contrast in this respect1 the stronger the affinity2 hence1 some acids separate others from their bases and form new salts by precipitation4 ,as an instance3 ,drop sulphuric acid into a solution of acetate of lead4 ,it will displace the acetic acid1 form sulphate of lead and precipitate1 leaving the liberated acetic acid in solution4 ,in linolein1 this acid is so constituted that the affinity1 or attraction between it and its glycerine base1 is too feeble to resist and keep back the oxygen of the air2 hence1 when linseed oil is exposed to the air in a thin layer1 oxygen unites with its linoleic acid1 and this process continues until the oil becomes dry to the touch4 ,beyond this point the process is slower1 because the oil is now less penetrable2 but the process goes on until the layer of oil becomes hard and brittle1 no matter with what pigment it may be mixed1 although the pigment may for a time retard the action of the destroying elements4 ,linseed oil dries too slowly for general use by the painter1 hence various ways have been devised to hasten the drying process4 ,if the foregoing theory is correct1 the process which will cause the oil to dry to a good wearing body in the time desired1 and leave it in the best condition to resist the action of the elements and the absorption of oxygen1 is the best4 ,i regard the lead oxides as the best dryers for this purpose--at least according to my experience4 ,when we add an oxide to linseed oil as a dryer in the small quantity which experience has taught us is best to use1 it is evident that it is not sufficient in itself to oxidize the whole of the oil to an appreciable extent4 ,writers differ as to the peculiar action of the oxides upon the oil1 but ,i think it safe to say that the dryer sets up some chemical reaction which increases the affinity between the linolein and the oxygen of the atmosphere2 at any rate1 there is no dispute upon the point that linseed oil in drying absorbs a large per cent4 of oxygen4 ,a knowledge of this unanimously conceded point led me to believe that a coat of pure linseed oil might make the best possible priming coat for iron work which had commenced to rust4 ,why8 ,because iron rust is an oxide of iron1 having an excess of oxygen4 ,spread on rusty iron1 it penetrates the rust1 absorbs its excess of oxygen and dries with the remaining neutral oxide held fast in its body4 ,this is my theory2 whether correct or not1 numerous tests have proved to me that a coat of linseed oil will stop the rusting of iron if applied under proper conditions4 ,when rust is thick or scaling there is no safety short of taking it off4 ,iron rust is more or less hydrated2 to free it from moisture1 give it the flame of the gasoline paint burner4 ,,white ,,enamel 7,,selected74 ,first1 the wood is primed with a composition consisting of three parts of turpentine and one part of oil1 japan gold size being used as a dryer4 ,on this drying thoroughly the work is rubbed down until perfectly smooth4 ,next are applied two or three coats of pure white lead mixed entirely flat2 each coat is rubbed down1 time being allowed for it to dry4 ,equal parts of lead and zinc are used for the next coat1 and three-fourths zinc and one-fourth lead for the one succeeding4 ,after this has become thoroughly hard it is rubbed down very smooth4 ,a thin coat of color made of zinc and turpentine is now rubbed on2 for the next coat the same flat color is used1 with the addition of about one-half the quantity of good light coach varnish4 ,for the last coat enough zinc is used in the varnish to make it white if the last coat of zinc is not white and solid before varnishing4 ,if the work is to be gilded or striped the zinc must be left out of the last coat of varnish4 ,,varnish ,,to ,,imitate ,,ground ,,glass4 ,an expert has sent the following to the ,british ,journal of ,photography3 ,to make a varnish to imitate ground glass1 dissolve #ij grains sandrac and #bj grains of mastic in #b ounces of washed methylated ether1 and add1 in small quantities1 a sufficiency of benzine to make it dry with a suitable grain--too little making the varnish too transparent1 and excess making it crapy4 ,the quantity of benzine required depends upon its quality--from half an ounce to an ounce and a half1 or even more2 but the best results are got with a medium quality4 ,it is important to use washed ether1 free from spirit4 ,,varnish ,,for ,,rustic ,,work4 ,one quart of boiled linseed oil and two ounces of asphaltum1 to be boiled on a slow fire until the asphaltum is dissolved1 being kept stirred to prevent its boiling over4 ,this gives a fine dark color1 is not sticky1 and looks well for a year2 or1 first wash the article with soap and water1 and when dry1 on a sunny day do it over with common boiled linseed oil2 leave that to dry a day or two1 then varnish it over once or twice with hard varnish4 ,if well done this will last for years and prevent annoyance from insects4 ,,to ,,clean ,,very ,,dirty ,,brass4 ,rub some bi-chromate of potassa fine1 pour over it about twice its bulk of sulphuric acid1 and mix this with an equal quantity of water4 ,the dirtiest brass is cleaned in a trice4 ,wash right off in plenty of water1 wipe it and rub perfectly dry1 and polish with powdered rotten stone4 ,,to ,,counterfeit ,,tortoise ,,shell ,,very ,,finely4 ,in order to do this well1 your foundation or ground-work must be perfectly smooth and white1 or nearly so1 you then gild it with silver leaf with slow size1 so as to have it perfectly smooth with no ragged edges1 cleaning the loose leaf off4 ,then grind cologne earth very fine1 and mix it with gum water1 common size2 and with this1 you having added more gum water than it was ground with1 spot or cloud the ground-work1 having a fine shell to imitate2 and when this is done1 you will perceive several reds1 lighter and darker1 appear on the edges of the black1 and many times lie in streaks on the transparent part of the shell4 ,to imitate this finely1 grind dragon's blood with gum water1 and with a fine pencil draw those warm reds1 flushing it in about the dark places more thickly1 but fainter and fainter and thinner1 with less color towards the lighter parts1 so sweetening it that it may in a manner lose the red1 being sunk in the silver or more transparent parts4 ,when it is dry1 give it a coat of varnish1 let it stand for a few days1 then rub it down with pumice stone and water4 ,then grind gamboge very fine1 and mix with varnish1 giving of this as many coats as will cause the silver to have a golden color1 then finish with a clean coat of varnish4 ,,price ,,list4 ,the prices of labor1 and cost of material vary so much in different localities that it seems impossible to make a reliable price list for general work4 ,the position1 condition1 and shape of different jobs all go towards making a general price list1 an unreliable guide2 also the quality of work demanded may make #ej per cent4 difference in price4 ,i have half a dozen printed price lists before me1 and they generally agree to about the following prices for painting and glazing1 to-wit3 ,per ,yard4 #a coat on new work #h to #aj cents #a coat on old work #aj to #ah cents #b coats on new work #ah to #bj cents #b coats on old work #bj to #be cents #c coats on new work #be to #bh cents ,brick walls1 #b coats #bj to #cj cents ,penciling #aj to #ae cents ,,priming ,,and ,,glazing ,,sash4 ,per ,light4 #aj #ad and under #e to #f cents #ab #af #g to #i cents #ad #bd #aj to #ab cents #ah #bd #ae to #ah cents #bd #cj #bj to #be cents #cj #dj #ce to #ej cents ,for old work where the old putty is in the sash1 multiply the above figures by #c or #d4 ,when called out to the house to set a light or two charge for time and material4 ,most work of this kind is done at least #cj per cent4 below the above prices4 ,i quote below a price list for sign painters1 from a very complete report on painters' prices and measurements1 generally1 by one of the ablest of local associations of master painters and decorators3 ,,japanned ,,tin ,,signs4 ,gold4 ,plain4 #c #ad inches #a4be 4#ge #f #h inches #a4ej 4#ge #h #aj inches #a4ge #a4jj #aj #ad inches #b4ej #a4ej #aa #ag inches #c4jj #b4jj #aa #ag inches1 #c lines #c4ej #b4ee #ad #bj inches #d4jj #b4ej #ad #bj inches1 #c lines #d4ej #c4jj #ah #bd inches #f4jj #c4ej #ah #bd inches1 #c lines #g4jj #d4jj ,frames additional4 ,,glass ,,signs ,,on ,,windows ,,and ,,doors4 ,in ,silver or ,gold ,per ,foot4 ,letters up to #f inches in height 4#ge ,letters #f to #aj inches in height #a4jj ,letters #aj to #ad inches in height #a4ej ,shaded1 one color1 #be per cent4 extra4 ,,drum ,,signs4 ,gold4 ,plain4 #aj #ad inches #c4ej #b4ej #aa #ag inches #d4jj #c4jj #ad #bj inches #e4jj #c4ej #ah #bd inches #g4jj #e4jj #bj #bd inches #h4ej #f4ej #bd #cj inches #aj4jj #g4jj #cj #cj inches #ab4jj #h4ej #cj #dh inches #ae4jj #aj4jj ,the above include moulding and urns and putting up4 ,drilling holes in iron extra4 ,,muslin ,,signs4 ,per ,foot4 ,up to #a foot high1 black #h cents #a to #b feet1 black #aj cents #b to #c feet1 black #ab cents ,colored one-half extra4 ,muslin furnished4 ,frames extra4 ,,oil ,,cloth ,,signs4 ,per ,foot4 ,up to #a foot #bj cents #a to #b feet #be cents #b to #c feet #cj cents ,oil cloth furnished4 ,frames extra4 ,,board ,,signs4 ,including three coats of paint and lettering4 ,gold4 ,plain4 #f inches #d feet #d4jj #b4ej #h inches #f feet #e4jj #c4ej #aj inches #h feet #f4jj #d4jj #a foot #ab feet #g4ej #e4jj #a foot #ae feet #h4ej #e4jj #ad inches #af feet #h4ej #e4jj #ad inches #ah feet #i4jj #f4jj #ad inches #bj feet #i4ej #f4jj #af inches #af feet #i4ej #f4jj #af inches #ah feet #aj4jj #f4jj #ah inches #ah feet #aj4jj #f4jj #ah inches #bj feet #ab4jj #g4jj #ah inches #bd feet #ae4jj #g4jj #ah inches #cj feet #ah4jj #h4jj ,board extra4 ,irons and putting up extra4 ,shading1 #be per cent4 additional1 one color4 ,,wall ,,signs4 ,two coats of paint and lettering4 ,extra coat1 #a cent per square foot additional4 #b #af feet #f4jj #b #bj feet #g4jj #b #bd feet #h4jj #b #cj feet #aj4ej #c #af feet #h4jj #c #bj feet #aj4jj #c #bd feet #ab4jj #c #cj feet #ad4jj #d #af feet #i4jj #d #bj feet #ab4jj #d #bd feet #ac4jj #d #cj feet #ae4jj #f #af feet #ab4jj #f #bj feet #ad4jj #f #bd feet #af4jj #f #cj feet #ah4jj #h #af feet #ad4jj #h #bj feet #af4jj #h #bd feet #ah4jj #h #cj feet #bj4jj #aj #ab feet #aj4jj #aj #af feet #ac4jj #aj #bj feet #af4jj #aj #bd feet #ai4jj #aj #cj feet #bb4jj #ab #af feet #ad4jj #ab #bj feet #ah4jj #ab #bd feet #bj4jj #ab #cj feet #be4jj #ad #bj feet #bj4jj #ad #bd feet #bd4jj #ad #cj feet #bh4jj #af #bd feet #bf4jj #af #cj feet #ci4jj #bj #bd feet #cj4jj #bj #cj feet #ce4jj #bj #dj feet #dj4jj #ba #cj feet #cg4jj #bd #cf feet #db4jj #bd #dj feet #dh4jj #cj #dj feet #fj4jj #cj #ej feet #gj4jj #cj #fj feet #hj4jj ,,show ,,cards4 #a sheet1 #bb #be #a4ej #a sheet1 #ad #bb 4#ge #a sheet1 #aa #ad 4#ej ,the above prices are based upon white lead at #g cents per pound and wages at #cc cents an hour4 ,,midsummer ,,painting4 ,all things considered1 which is the best time of the year to do outside painting8 ,spring and fall1 did you say8 ,well1 yes4 ,i know nearly all painters think so1 and the people outside the trade are almost1 if not quite1 unanimous in holding the same opinion4 ,but why8 ,do the winds of ,march1 the frequent showers of ,april and ,may add very much to the pleasure and profit of doing outside work in spring8 ,do the soaking rains1 which come along about the time of the vernal equinox and drive you off your job for a week or two and watersoak your unprimed work1 add much pleasure to your recollections of spring painting8 ,do you remember anything about the clouds of midges and thousands of little moths which filled the air1 ready and willing to decorate your paint with their little bodies on every still1 warm mid-day in ,april and ,may8 ,of course1 we are speaking now of climatic conditions from our own standpoint1 the great ,northwest1 which may also be true in the ,middle and ,new ,england states4 ,the mornings and evenings of spring and fall are apt to be cool--often frosty2 then the oil stiffens and the paint rubs out hard and goes on slow1 and we lose time and work harder4 ,practically1 ,i favor midsummer for outside work1 because the temperature is more uniformly warm and the paint spreads easily and evenly at any time of day1 and as a rule the rains are less frequent and give a longer warning of their approach4 ,the little black flies are not so plentiful in the hot days of summer as they are in spring and early fall4 ,they are either dead or seek the shade of trees and grass4 ,the dew is all gone in summer before seven o'clock a4 m41 and does not commence to fall until after quitting time4 ,a carpet of grass and other vegetation covers a large portion of the ground in summer1 holding down the dust4 ,the winds are not usually so high and gusty in summer as they are in the spring and fall4 ,in the warm days of summer your work is more apt to dry quickly1 cleanly and evenly2 and when you 8knock off0 from work at six p4 m41 and the sun is yet two hours above the horizon1 you know that your last ground stretch will soon be out of the way of dust and rain4 ,in the hot weather of summer the pores of the wood are all open1 and the oil1 which is then soft and thin1 goes farther into the wood than in spring and fall1 when the weather is cool4 ,there are1 it is true1 some fine days in the fall for outside work1 but the rainy season of the autumnal equinox and the frosty nights of the later months often retard your work and mar the finish of your job4 ,one objection urged against summer painting is the flies1 but really are the flies which injure paint any more numerous in midsummer than they are in spring and fall8 ,it is true the festive house-fly is in his glory in the summer1 but1 as a rule1 he is too smart to get stuck in outside paint4 ,to get inside is his ambition1 and the molasses-cup and sugar-bowl are his objective points4 ,if the house-fly is an objection in the summer1 it certainly is a greater one in the fall1 for in ,september and early in ,october they are thicker1 saucier and more familiar than at any other time of year2 then they want not only to get at the sugar1 but to get in and warm4 ,a correspondent asks3 8,does the reader know from practical experiment that one season is better than another for applying outside paint80 ,i suppose the writer means the effect upon the wearing qualities of the paint and the permanency of the color4 ,i have been experimenting for a practical solution of this question for my own satisfaction and guidance1 and have come to the conclusion that paint put on the outside in the hot weather of summer will wear as well and hold its color as long as paint put on in the cooler days of spring and fall4 ,i know the idea that paint dries too fast in hot weather is almost universal1 but ,i think it grows largely from the fact that a quick-drying paint is not as good for outside as a slow dryer2 but you must remember that there is a great difference between a quick-drying paint and drying a slow paint as quickly as the ingredients will admit of4 ,linseed oil dries or hardens by absorbing oxygen from the air1 and that process goes on more rapidly in hot weather than in cool weather1 because the air in hot weather is in a condition more freely to part with its oxygen1 or because the oil is in a better condition to receive it1 or both4 ,in other words1 a warm atmosphere hastens the process of absorption and a cool air retards it1 but in either case the result is the same3 the air gives up enough of its oxygen to solidify the oil4 ,now1 the question arises1 can any difference be discovered 7chemical or otherwise7 in the composition of the paint1 whether dried in warm or cool air8 ,from a business-point of view1 ,i have long advocated summer as a good time to paint outside1 and have usually succeeded in converting customers to my views upon the subject1 and as a consequence have not often had a dull time in midsummer4 ,we painters in the country know how unpleasant and unprofitable it is to have all the work of the year rushed upon us in the spring and fall1 and ,i think if painters generally could convince themselves by practical experiment that1 all things considered1 summer time is the best season of the year to do outside work1 and advocate the same to their customers1 backed by argument and practical illustration1 there would soon be less need of complaint about a dull season in midsummer4 ,,to ,,remove ,,paint4 #a4 ,an expeditious way is by chemical process1 using a solution of soda and quicklime in equal proportions4 ,the soda is dissolved in water1 the lime is then added1 and the solution is applied with a brush to the old paint4 ,a few moments are sufficient to remove the coats of paint1 which may be washed off with hot water4 ,the oldest paint may be removed by a paste of the soda and quicklime4 ,the wood should be afterwards washed with vinegar or an acid solution before repainting1 to remove all traces of alkali4 #b4 ,wet the place with naphtha1 repeating as often as required2 but frequently one application will dissolve the paint4 ,as soon as it is softened1 rub the surface clean4 ,chloroform mixed with a small quantity of spirit ammonia1 composed of strong ammoniac1 has been employed very successfully to remove the stains of dry paint from wood1 silk1 and other substances4 #c4 ,to remove paint from floors4--,take one pound of ,american pearlash1 three pounds of quickstone lime4 ,slake the lime in water1 then add the pearlash1 and make the whole amount about the consistency of paint4 ,lay the mixture over the whole body of the work which is required to be cleaned1 with an old brush2 let it remain for twelve or fourteen hours1 when the paint can be easily scraped off4 ,,to ,,soften ,,putty ,,and ,,remove ,,old ,,paint4 #a4 ,take three pounds of quickstone lime2 slake the lime in water1 then add one pound of ,american pearlash2 apply this to both sides of the glass and let it remain for twelve hours1 when the putty will be softened1 and the glass may be taken out without being broken4 ,to destroy paint1 apply it to the whole body which is required to be cleaned2 use an old brush1 as it will spoil a new one2 let it remain about twelve or fourteen hours1 and then the paint may be easily scraped off4 #b4 ,to remove paint from old doors1 etc41 and to soften putty in window frames1 so that the glass may be taken out without breakage or cutting1 take one pound of pearlash and three pounds of quicklime1 slake the lime in water and then add the pearlash1 and make the whole about the consistency of paint4 ,apply to both sides of the glass and let it remain for twelve hours1 when the putty will be so softened that the glass may be taken out of the frame without being cut1 and with the greatest facility4 ,to destroy paint1 lay the above over the whole body of the work which is required to be cleaned1 using an old brush1 as it will spoil a new one4 ,let it remain for twelve or fourteen hours1 when the paint can be easily scraped off4 #c4 ,paint stains on glass4--,american potash1 #c parts2 unslaked lime1 #a4 ,lay this on with a stick1 letting it remain for some time1 and it will remove either tar or paint4 ,,treatment ,,of ,,damp ,,walls4 ,there are two classes of damp walls1 first where the water comes in from the outside from defective roofs1 bad gutters1 defective pipes1 and where it comes through the walls from the ground1 as in basements4 ,in the other class we may include walls which are dampened by condensation of moisture1 in places shut off from the general artificial temperature of the room1 behind stationary furniture4 ,such walls may dry out during hot weather1 or they may be kept damp by a growth of mold or fungus4 ,when water comes in from the outside1 it is impossible to keep paint or paper on the wall in good shape4 ,look around for the places where the water comes in1 point it out to the owner1 and if he fails to stop the leak have it understood that the work is done at his risk2 or1 what is better1 refuse to do the work2 because1 when a job comes off1 or turns out badly1 you will take the blame generally1 no matter whether it is your fault or not4 ,a job may be made to last awhile by a waterproof coating1 or by sheathing with thin lumber1 but it is only a question of time when the lining material will become water-soaked and spoil the paint or paper1 to your discredit4 ,i have usually been too busy to take jobs of this kind4 ,if the water can be cut off1 the next thing is to dry the wall1 which you can do at the surface only by setting a stove near it1 or with the flame of a paint burner2 then1 after all your trouble1 the water1 which remains in the wall1 if of brick or stone1 may find its way to the surface1 and destroy your work4 ,sheet lead cemented to the wall will answer a good purpose for a time1 but the dampness will finally destroy the cement and let the metal loose4 ,battening out for lath and plaster is the best for basement or damp stone walls1 but that is the plasterer's work1 and is rarely ever done except in private residences4 ,battening and canvasing is next best2 nail your battens up and down #ah inches apart4 ,have the canvas stitched in sheets the right size to cover the large blank spaces of the wall4 ,then stretch and tack it on the battens1 and give it a coat of glue and alum size4 ,when dampness is caused by condensation the best remedy is to remove the cause and dry the wall4 ,,to ,,paper ,,on ,a ,,board ,,partition4 ,when paper is pasted on boards1 it must crack1 when the lumber shrinks4 ,if you paste cloth over the cracks1 it must crack1 if the cracks open further than the cloth will stretch4 ,when you tack cloth on a partition and size it1 if the size goes through the cloth and sticks it fast to the boards1 it will be likely to crack when the lumber shrinks4 ,for a good job ,i would advise that you first cover the partition with paper tacked on1 then when you size the cloth1 it will stick to the paper1 and not to the boards4 ,i have met with uniform success in this way2 because the boards are left free to shrink and swell without breaking the cloth or paper4 ,i like to sew the cloth together with a running seam in pieces large enough to cover all broad spaces1 turn the smooth side out1 stretch well1 and fasten the edges only2 drive the tacks an inch from the edges of the cloth1 so that you can fasten them down smoothly with paste4 ,when a man has been unwise enough to put a board partition across one end of an otherwise fine room1 and is willing to pay for his folly3 first1 take measurements of the blank spaces1 and sew together some fairly strong unbleached muslin1 stretch on frames1 and give it a coat of glue and alum size1 and whiting2 when dry1 carefully fit each piece in its place and tack it an inch from the edges and fasten the edges down smooth with strong flour paste4 ,tack only at the edges1 and if you are careful to butt edge the different pieces over the doors1 etc41 you can make a nice smooth job in this way4 ,by using this method the paste will not stick the cloth to the wall4 ,use tinned tacks to prevent rust4 ,,sandpapering4 ,this is a job none of us like very well1 but since it must be done1 it is worth while to be able to do it to the best advantage4 ,the first thing to look for is good paper4 ,to test the strength of the sand1 rub two pieces together1 and if the sand don't fly off1 it is good in that respect2 next see if the paper is tough and will not tear easily4 ,chalk the back of your paper before you double it and it will not slip4 ,don't lose time using old1 worn-out paper4 ,new paper will1 of course1 cut faster than old paper1 and the difference in the time gained by using sharp paper will pay for the new paper twice over4 ,using old dull paper is like trying to save money by using an old stub brush4 ,better use up fifty cents' worth of paper than to fool away dollars' worth of time trying to save money by using old paper4 ,if you have old1 hard paint to cut down1 which dry sandpaper will not touch1 keep the work wet with benzine1 and you will be surprised to see how fast the sandpaper will cut the paint4 ,to put on benzine use a small spring-bottomed can1 such as is used for oiling machinery4 ,you can use any grade of sandpaper1 and it will not soak up or gum4 ,no4 #a paper is the best for this purpose4 ,a good deal of time may be lost where scrapers could be used to much better advantage4 ,a broad1 flat scraper to shove endwise is always in order1 and a few narrow ones with various shaped ends to fit in headings1 moldings1 etc41 are a great help4 ,a ,,stenciled ,,border4 ,this makes a nice finish for a painted or kalsomined room4 ,to make it look at its best1 paint a stripe as wide as your stencil in a pleasant contrast to the paint on the room and put the stencil on that in soft harmonizing colors4 ,,repainting ,,scaled ,,work4 ,to repaint a job which has commenced to scale1 without taking off all the old paint1 is very uncertain work1 but if you have to try it1 have it understood in writing1 or before witnesses1 that it is done at the owner's risk4 ,first scrape off the loose paint1 then go over the job with raw oil2 put it on freely and let it stand until dry2 then scrape off all the paint loosened by the oil1 and coat up with strictly pure white lead and oil4 ,avoid zinc1 and mixtures of zinc1 and barytes1 on jobs of this kind2 because they are more or less liable to crack1 and pull off more of the old paint4 ,white lead and oil lightly tinted will hold it if anything will4 ,use raw oil and a little good japan4 ,,to ,,mix ,,water ,,colors4 ,light weight colors which will not mix well with water may be easily mixed to a stiff paste with molasses or sirup1 then mix in glue size for a binder and thin with water4 ,,to ,,size ,,muslin ,,for ,,lettering4 ,use a thin size of white glue in water1 or a thin starch paste4 ,for a sign to stand weather1 dissolve white wax in turpentine by heat4 ,melt the wax in a kettle1 then take it outside and by degrees add sufficient spirits of turpentine and make a thin size4 ,one ounce of wax to the quart of turps is about right4 ,put it on warm with a brush4 ,,another ,,for ,,white ,,work4 ,slake a little good1 fresh lime in hot water and mix a size with skim milk4 ,then strain through cheese cloth4 ,this size is1 when dry1 insoluble in water and will hold lettering as long as the cloth lasts4 ,may be tinted4 ,illustration3 ,no4 #d4 ,,old ,,style ,,extended4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #f #g #h #i #j ,,test ,,of ,,the ,,purity ,,of ,,white ,,lead4 ,the following is an infallible and simple commercial test of the purity of white lead3 ,take a piece of firm1 close-grained charcoal1 and near one end of it scoop out a cavity about half an inch in diameter and a quarter of an inch in depth4 ,place in the cavity a sample of the lead to be tested1 about the size of a small pea1 and apply to it continuously the blue or hottest part of the flame of the blow-pipe2 if the sample be strictly pure it will1 in a very short time1 say two minutes1 be reduced to metallic lead1 leaving no residue2 but if it be adulterated1 even to the extent of #aj per cent4 only1 with oxide of zinc1 sulphate of baryta1 whiting or any other carbonate of lime 7which substances are the principal adulterations used71 or if it be composed entirely of these materials1 as is sometimes the case with cheap lead 7so-called71 it cannot be reduced1 but will remain on the charcoal an infuscatible mass4 ,a blow-pipe can be obtained from any jeweler at small cost4 ,an alcohol lamp1 star candle1 or a lard oil lamp furnishes the best flame for use of the blow-pipe4 ,this test is very simple and anyone can very soon learn to make it with ease and skill4 ,,polish ,,to ,,renovate ,,varnished ,,work4 ,one quart good vinegar1 #b ounces butter of antimony1 #b ounces alcohol1 #a quart oil4 ,shake before using4 ,,bronzes--,,colors4 ,white1 ,light ,gold1 ,lemon1 ,copper1 ,lilac1 ,silver1 ,dark ,gold1 ,orange1 ,carmine1 ,violet1 ,flesh1 ,rich ,gold1 ,fire1 ,crimson1 ,brown1 ,light and ,dark ,greens4 ,,black ,,varnish ,,for ,,iron4 ,asphaltum1 #b pounds4 ,boiled linseed oil1 #a pint4 ,spirits turpentine1 #b quarts4 ,melt the asphaltum with the oil in an iron kettle4 ,stir well before removing from the fire4 ,when partly cool add the turpentine and a little good japan4 ,,to ,,free ,,benzine ,,from ,,its ,,offensive ,,odor4 ,to deodorize benzine1 add #c ounces quicklime to the gallon of benzine2 shake well4 ,let the lime settle and pour off and filter the benzine4 ,,paint ,,to ,,prevent ,,wood ,,exposed ,,to ,,the ,,ground ,,from ,,rotting4 ,take of linseed oil1 #d parts2 whiting1 #dj parts2 rosin1 #ej parts2 clean sand1 #cjj parts2 heat together in a kettle until the rosin melts2 then add #b parts sulphate of copper2 the mass to be well stirred1 and thinned to workable consistency with linseed oil4 ,,recipes ,,for ,,blackboard ,,slating4 ,dissolve #a pound shellac in #a gallon #ie per cent4 alcohol2 then add pound best powdered ivory black1 #e ounces finest emery flour1 #b ounces ultramarine blue2 mix well and keep air tight4 ,when using stir frequently4 ,if thick enough to show brush marks1 add more alcohol2 work quick with a fine brush4 ,,to ,,make ,a ,,blackboard ,,on ,,common ,,plaster4 ,stop all cracks and holes with plaster paris mixed in glue size4 ,when dry sandpaper until all is smooth2 then paper the wall with white blank wall paper1 butt the edges1 put on with strong paste1 and be careful to rub out all blisters4 ,when dry prime with oil paint1 then sandpaper with fine paper1 and put on two coats of above slating4 ,this makes an excellent blackboard4 ,boards which ,i made in this way twenty years ago are in good shape yet1 and will last for years to come with an occasional repainting4 ,,cheap ,,slating1 ,,but ,,good4 ,mix lamp black1 #d parts2 ultramarine blue1 #a part1 by weight1 in turpentine1 with sufficient good japan and a very little oil to bind it1 then add one part by weight of fine pumice stone4 ,have it thin enough to flow on and not leave brush marks4 ,,waterproof ,,oil ,,rubber ,,paint ,,for ,,cloth4 ,melt #b pounds of india rubber in gallon of boiled oil by boiling4 ,if too thick1 add more oil2 if too thin1 add more rubber1 and a little japan to dry it4 ,apply warm4 ,,to ,,clean ,,paint4 ,have some whiting on a plate1 then dip a piece of flannel in warm1 soft water and squeeze nearly dry1 then take up some of the whiting by dipping the flannel in it1 and rub the paint until it looks clean1 then rub dry with a soft cloth or chamois skin4 ,,good ,,quick ,,stain ,,for ,a ,,brick ,,chimney4 ,for red stain1 take ,venetian red1 #b parts2 yellow ochre1 #a part--both dry--and mix with skim milk4 ,for yellow stain1 use water-lime1 tinted with yellow ochre4 ,mix as above4 ,skim milk when mixed with common quicklime1 ,portland cement1 or ,venetian red1 is converted into an insoluble binder1 which renders the mixture waterproof1 so that it will not wash off when wet2 neither will it rub up when dry4 ,other pigments can be added1 by way of coloring1 up to #be per cent41 without affecting the insolubility of the paint4 ,for a brick wall1 which has not been rubbed or painted1 ,venetian red toned down with yellow ochre1 beats any glue and acid mixture for durability4 ,,to ,,clean ,,door ,,plates4 ,put on with a rag a weak solution of ammonia in water1 and rub to dryness4 ,,to ,,clean ,,varnished ,,paint4 ,in a gallon of water1 boil a pound of wheat bran1 and wash the varnish with the water4 ,,slowing ,,the ,,drying ,,of ,,paint4 ,in wall painting or otherwise1 especially in hot weather1 if the paint dries so fast as to show laps in spite of your best efforts with the brush1 the addition of a little cotton seed oil will make the paint dry slower without hurting the gloss2 or if you are using flat color1 and it dries too fast1 a little cotton seed oil will make it dry slower1 and not make a gloss4 ,you can1 by a little experiment1 determine how much of cotton seed oil to use in each case4 ,,fine ,,bronze ,,for ,,metals4 ,red aniline 7fuchsine71 #bj parts2 purple aniline1 #aj parts2 #ie per cent4 alcohol1 #bjj parts2 acid benzoic1 #aj parts4 ,dissolve the colors in the spirit in a porcelain vessel in a water or sand bath2 add the acid and boil until the mixture changes from a greenish color to a beautiful bronze color4 ,lay it on the bright metal with a brush4 ,,repainting ,,blistered ,,doors4 ,when the paint commences to blister or scale on a door1 it is very liable to keep on blistering and scaling from time to time1 as long as any of the old paint is left on the door1 no matter how carefully it may be repainted1 because in most cases whatever caused the paint to scale off in spots1 weakened the entire coat of paint on the door1 making it liable to raise up1 or come off in other places1 whenever exposed to any extra strain1 such as sun heat1 or the drying of new coats of paint or varnish over it2 hence1 to have a sure thing on painting a scaled or blistered door1 take off all the old paint4 ,put on a thin prime of pure white lead and linseed oil2 use the priming sparingly and rub it out thin2 let the prime dry and coat up with lead and oil paint1 mixed with good body2 put in a little turps and spread the paint out thin1 so it will dry solid2 rub each coat in the same way2 give each coat time to dry solid4 ,for work to be varnished1 prime as above1 and coat up flat4 ,i think blistering is often caused by flowing on too much paint having too much oil in it1 in proportion to the pigment1 hence it does not dry solid1 the oil is softened and expanded by heat1 and the coating1 which is more of an oil skin than a body of paint1 lets go its hold on the wood and puffs out in a blister to make room for the softened and expanding oil skin4 ,if painters will mix their paint with good body1 and use more elbow grease in rubbing it out1 they will have less trouble with blisters4 ,,fireproof ,,paint ,,for ,,roofs1 ,,etc4 ,a recipe published thirty years ago in the ,maine ,farmer3 ,slake stone lime by putting it into a tub to be covered to keep in the steam4 ,when slacked pass the powder through a fine sieve1 and to each #f quarts of it add #a quart rock salt1 and water1 #a gallon2 then boil and skim clean4 ,to each five gallons of this add pulverized alum1 #a pound2 pulverized copperas1 pound2 then slowly add powdered potash1 pound2 then add hardwood ashes sifted1 #d pounds2 now add any color and apply with a brush4 ,this paint stops small leaks in roofs1 prevents moss1 is incombustible1 and renders brick waterproof4 ,it is durable as stone4 ,,varnish ,,for ,,iron4 ,genuine asphaltum #h pounds1 melt in an iron kettle1 slowly adding boiled linseed oil1 #e gallons2 litharge1 #a pound1 and sulphate of zinc1 pound2 continue to boil three hours1 then add dark gum amber1 #a pounds1 and boil two hours longer4 ,when cool thin with turpentine to good working consistency4 ,,black ,,varnish ,,for ,,iron4 ,genuine asphaltum 7not coal tar imitation71 #a pound2 lamp black1 pound2 rosin1 pound2 spirits turpentine1 #a quart4 ,dissolve the asphaltum and rosin in the turpentine1 then rub up the lamp black with linseed oil1 only sufficient to form a paste1 and mix with the others4 ,,to ,,mix ,,dry ,,lamp ,,black4 ,first cut it up in benzine or turpentine to a thick paste1 stir well and add linseed oil2 if the black is to be used as an oil paint1 a little at first1 stir well and you may add more4 ,in this way you will have no trouble in mixing it with other paint1 if you do it when the paint is rather stiff4 ,,to ,,clean ,,brass4 ,one-half ounce oxalic acid1 #c ounces rotten stone1 ounce gum arabic1 each in powder2 made into a paste with sweet oil4 ,use sparingly and rub dry with flannel4 ,,dipping ,,paint4 ,grind dry colors in japan and turps1 with only enough japan to bind the pigment4 ,when dry varnish1 use any pigment you like1 or use bolted whiting and color as you like4 ,,to ,,make ,,wax ,,finish ,,for ,,floors4 ,take #b ounces pearlash and #b pounds white wax4 ,slice the wax thin1 and boil it with the pearlash in #b quarts of water2 stir until the wax is melted and unites with the water4 ,put on the finish with a brush1 and polish with cloth or plush4 ,this finish will be good only for light service4 ,,spirit ,,varnishes4 ,there are numerous recipes which might be given here for making the fine elastic varnishes1 but it would not be practicable for the painter to make them1 even if he had the requisite skill and experience1 but with spirit varnishes it is very different1 and the painter can make them by a formula as well as an expert can4 7,for formulas for white and orange shellac varnish see article on wood finishing47 ,for inside work1 where the family is living at the time the work is being done1 the alcohol varnish is preferable4 ,first1 because it dries very quickly1 and second1 because it is free from sickening or disagreeable odors4 ,below are several recipes for making varnishes1 which dry hard and lustrous4 ,the spirit used is wood or grain alcohol2 in either case1 the spirit should be #ie per cent4 proof4 ,,brown ,,hard ,,spirit ,,varnish 7,,selected74 #a4 ,sandarac1 #a pound2 shellac1 pound2 gum elemi1 #d ounces2 ,venice turpentine1 #d ounces2 spirit1 #a gallon4 #b4 ,gum sandarac1 #a pounds2 shellac1 #a pound2 spirit1 #a gallon4 ,after the gums are dissolved1 put in rosin turpentine varnish1 #a pint4 ,this makes a good varnish1 not as quick drying as pure spirit varnishes4 ,a brown varnish may be made by mixing shellac1 #a pounds2 pale rosin1 #a pounds2 spirit1 #b gallons4 ,,white ,,hard ,,varnish4 #a4 ,sandarac1 #b pounds2 gum thus1 #a pound2 spirit1 #a gallon4 #b4 ,mastic1 pound2 sandarac1 #b pounds2 elemi gum1 #d ounces2 spirit1 #a gallon4 #c4 ,mastic1 pound2 sandarac1 #a pound2 turps1 #b ounces2 spirit1 #a gallon4 ,these are all prepared by mixing and setting in a warm place until the gums are dissolved1 then they are ready for use4 ,shake occasionally4 ,for fine work strain carefully4 ,,pure ,,white ,,varnishes4 #a4 ,pale manila copal1 #h ounces2 gum camphor1 #a ounce2 mastic1 #b ounces2 venice turpentine1 #a ounce2 spirit1 #a quart4 #b4 ,sandarac1 #h ounces2 mastic1 #b ounces2 ,canada balsam1 #d ounces2 spirit1 #a quart4 #c4 ,sandarac1 #h ounces2 damar1 #d ounces2 gum thus1 #h ounces2 manila copal1 #h ounces2 elemi1 #h ounces2 spirit1 gallon4 ,this is a good pale article4 #d4 ,gum thus1 #h ounces2 gum benzoin1 #d ounces2 manila elemi1 #d ounces2 spirit1 #a quart4 ,,varnish ,,paints4 ,these are made by mixing opaque pigments with almost any varnish1 using sufficient turps to make them spread well4 ,,gold ,,varnish4 ,shellac1 #h ounces2 sandarac1 #h ounces2 mastic1 #h ounces2 gamboge1 #b ounces2 dragon's blood1 #a ounce2 turmeric1 #d ounces2 spirit1 #a gallon4 ,,furniture ,,varnish4 ,shellac1 #a pounds2 sandarac1 #d ounces2 mastic1 #d ounces2 spirit1 #a gallon4 ,,damar ,,varnish4 ,damar1 #a ounce2 sandarac1 #e ounces1 mastic1 #a ounce2 turps1 #bj ounces4 ,digest at gentle heat until dissolved4 ,if necessary add more turps to bring down to the proper consistency4 ,,lacquers ,,for ,,brass ,,and ,,tin4 ,pale gold lacquer4--,spirit1 #a gallon2 orange shellac1 #a ounce2 gamboge1 ounce4 ,deep gold4--,orange shellac1 #aj ounces2 turmeric1 #d ounces2 gamboge1 #d ounces2 dragon's blood1 ounce2 spirit1 gallon4 ,brass lacquer4--,shellac1 #ad ounces2 turmeric1 #d ounces2 annotto1 #a ounce2 saffron1 ounce2 spirit1 #a gallon4 ,,leather ,,varnish 7,,black74 ,shellac1 #ab ounces2 gum thus1 #e ounces2 sandarac1 #b ounces2 lamp black1 #a ounce2 turpentine1 #d ounces2 spirit1 gallon4 ,mix the ingredients1 and give them time to dissolve in the spirit in a warm place4 ,a shake-up now and then will quicken the process4 ,,paper ,,hanger',s ,,outfit4 ,bib overalls1 large pocket in front1 side pockets for rule and shears1 long trimming shears1 shorter wet shears1 straightedge1 paste board1 plumb bob1 rule1 paper brush1 paste pail1 size kettle1 step-ladders and rollers1 some sandpaper1 soft cloths and long blotting paper to use under your roller on seams1 when needed1 and a plank for scaffold1 when papering ceilings4 ,for common sized rooms two step-ladders are good in the place of trestles to hold up the plank4 ,for butt edging ,i can recommend ,james ,marks' paper cutters4 ,see description on another page4 ,,paper ,,hangers' ,,paste4 ,beat up four pounds of sifted wheat flour in cold water sufficient to make a stiff batter2 beat out all the lumps1 then add enough cold water to make it like pudding batter4 ,then pour in a little hot water and stir1 then pour in hot water fast1 and stir until the paste swells and thickens1 and turns darker4 ,it is then cooked4 ,to keep the paste from 8going back0 and staining the paper1 add about two ounces of powdered or well pounded alum to the boiling water which you pour on the batter4 ,this will make three-quarters of a common wooden pail full of paste4 ,it will do better and go further if you let it cool before using4 ,turn a little cold water on the top to prevent it skinning over while you wait for it to cool4 ,when ready to use it1 thin with cold water1 until it works easily under the brush1 and according to the wall4 ,a very rough porous wall needs a stout paste and plenty of it1 while a hard1 smooth wall should have the paste thinned and less of it4 ,i have known paper to crack and fall off from a smooth wall1 because too much or too thick paste was put on4 ,just enough to cement the paper to such a wall is best2 a body of paste between the paper and plaster will decay and peel off1 and take the paper with it4 ,the other extreme must be avoided also4 ,some hangers prepare this paste without the alum4 ,if hanging paper on a glossy painted surface1 leave out the alum and add one-half pint of nice clear sirup to each gallon of paste4 ,,to ,,make ,a ,,paste ,,for ,,papering ,,over ,,painted ,,or ,,varnished ,,walls4 ,in a kettle mix some flour in water in the same way as in the above formula1 but make the batter thinner4 ,to each gallon of the batter add one ounce of powdered resin4 ,set the kettle on a moderate fire1 and keep stirring it until it boils and thickens1 and the resin is melted into the paste4 ,when cool1 thin down with a weak solution of gum arabic4 ,,liquid ,,glue4 ,fine glue dissolved in alcohol makes a nice binder for fine water colors4 ,,to ,,crystalize ,,glass4 ,lay the glass flat and flow heavy alum water over it4 ,let it dry4 ,,size ,,for ,,walls ,,before ,,papering ,,or ,,kalsomining4 ,one pound good white glue1 #a pound good bar soap1 #b pounds pulverized alum4 ,dissolve each separately in one quart boiling water1 having first soaked the glue4 ,mix the glue and soap water1 and then slowly add the alum water1 stirring all the time4 ,add cold water to make one gallon4 ,,stain ,,oak ,,wood4 ,wash with a solution of bi-chromate of potash and acid water4 ,one ounce to a quart of water4 ,,sizing ,,walls4 8,anybody can do it60 ,yes1 but it takes an expert to do it right4 ,it is not a difficult matter to make paper stick to whitewash1 but the whitewash splits as far in as the paste goes1 and a part of it invariably sticks to the paper when it comes off and a part of it is left on the wall4 ,as a rule1 if you size whitewash with flour paste and let it stand a few days it will crack and roll up4 ,now1 pure glue size does not have this effect upon whitewash1 but1 on the contrary1 it not only acts as a binder1 but as an intervening coat between the paste and the whitewash4 ,in other words1 the glue size will stick the whitewash fast without causing it to crack1 and the paste will adhere to the glue size without bad effects upon either4 ,now1 in order to bind the whitewash1 the glue should penetrate as far as possible4 ,hence1 the size should be put on warm1 and the room should be warm1 otherwise the glue will get cold and stiff like jelly before it has time to penetrate2 hence it will remain on the surface instead of going into whitewash as a binder4 ,the idea is to get all you can into the wall and leave as little as possible on the outside4 ,another thing to look after is the quality of the glue4 ,very much of the white glue found on the market is not genuine glue4 ,some of it is adulterated with starch and white clay1 some of it is not glue at all4 ,a glue which will dissolve in cold water is not good glue1 or if it melts readily in hot water without being soaked an hour or two in cold water1 it is not first-class4 ,if it has a dead white look it is not good4 ,good glue should be glossy and semi-transparent1 and should soften and swell in cold water1 but not dissolve in it4 ,when put into hot water without being first soaked in cold water1 it should not dissolve at once1 but form into a lump and resist the action of the hot water for some time4 ,,how ,,to ,,apply ,,white ,,enameled ,,letters ,,to ,,glass4 ,an extract from a circular issued by the manufacturers of these letters3 ,having thoroughly cleaned the window and freed it from grease1 draw with white marking chalk on front of it the plan or arrangement of outline it is intended to adopt--straight or curved1 as the case may be4 ,a rule is used for marking the straight lines and a piece of twine for the curved lines4 ,now divide these guide lines up into as many spaces as there are letters to go on1 carefully proportioning them4 ,then apply the cement to the back of the letters with a knife1 laying on equally around both the inside edges4 ,place the letter upon the window in the space marked for it and work it up and down1 back and forth1 pressing against the glass1 so as to expel the air and secure a good adhesion1 and taking care to press equally on top and bottom of the letter1 as otherwise there is a likelihood of breaking4 ,it is advisable1 in cementing larger sized letters than six inches1 to leave the letters lay for an hour after placing the cement around the edges1 and then to give another coat of cement and attach the letters immediately4 ,the object is to prevent all the cement from working inside the concave parts of the letters4 ,in affixing larger and heavy letters1 small pieces of beeswax 7or1 in summer1 sealing wax7 should be employed to keep them in position until the cement sets4 ,as soon as the letters are attached to the glass take a small stick of wood1 sharpen it on the end and clean away all superfluous cement1 keeping the end of the stick constantly wet4 ,particular care should be taken to leave no openings between the letters and the glass 7especially around the top edges7 which would allow water to get in between4 ,if wax has been used1 remove it after a few days and clean with a rag4 ,the sign is then complete for long service4 ,the above method will answer equally well on any smooth surface such as stone1 iron1 marble1 wood4 ,to make the cement1 mix two parts of white lead ground in oil with three parts of dry white lead1 and thin it down to the consistency of soft putty with some good furniture or copal varnish4 ,then take small parts of it and grind them on a stone or glass plate in the manner of painters grinding color with a bowl or palette knife4 ,this is to be continued until the cement is entirely smooth and cornless1 and then it is ready for use4 ,to remove enameled letters1 the most convenient way is to scratch away around the edges all the cement you can from under the letters4 ,use for this purpose a very thin knife or a piece of thin sheet steel4 ,you will soon reach the soft part of the cement2 then cut away with a sawing motion and twist them off4 ,do not attempt to pry the letters off1 or they may break4 ,if the cement should be very hard1 say after a number of years1 use a little kerosene oil1 which is applied on the top edges of the letters1 so as to work in and soften the cement4 ,,wall ,,sizing ,,for ,,kalsomining4 ,there are many things about wall sizing1 which depend largely upon good judgment for success1 because the treatment must be varied according to the condition of the wall or ceiling4 ,a good size is made of good white glue1 pound2 alum1 #a pound4 ,dissolve the glue in the usual way2 that is1 soak it in cold water until soft1 then pour off the cold water and pour on the hot water2 and stir until the glue is dissolved4 ,dissolve the alum in hot water4 ,then stir the glue1 and put in the alum water4 ,thin the mixture with water to the right consistency to work well4 ,if one coat is not sufficient1 give it two2 or if there are porous places in the wall1 touch them up4 ,in many cases a simple glue size is sufficient1 but if you use the glue and alum size as above directed1 you will be pretty sure of a good foundation for kalsomine4 ,one of the most difficult things to overcome in preparing ceilings for kalsomine is the water stain1 which is liable to be invisible until developed by a coat of kalsomine4 ,if you find water stains on a ceiling and suspect that there may be others which do not show1 go over the ceiling with a thin wash of whiting mixed in clear water1 which when dry will develop all hidden stains4 ,to kill a bad stain1 first put on a coat of oil1 japan and turps1 equal parts2 second1 put on a coat of good heavy shellac2 third1 give the spots a coat of flat lead4 ,this treatment is for dark stains2 for light stains a coat or two of shellac will stop the stain4 ,it is best to put a coat of keg lead thinned with turps over the shellac1 because kalsomine is liable to scale off from shellac4 ,on cheap work1 if the stain is not too dark1 it may be kept back by pasting a piece of paper over it4 ,if the wall has been kalsomined it is always in order to wash off the old kalsomine4 ,if the work has been whitewashed1 either take it off or first give it a wash of strong vinegar1 then a glue size1 which1 if put on thin and plentifully while warm in a warm room1 is about the best size ,i know of for whitewash4 ,i have often used it successfully when it was not practicable on account of the weakness of the ceiling or other cause to take off the old whitewash4 ,two thin coats of good glue size on firm whitewash makes as fair a foundation for kalsomine as can be made on old whitewash4 ,when it will not pay you to wash off the old kalsomine1 a coat or two of the wall sizing described above will make a good foundation4 ,,sign ,,painting4 ,to the beginner ,i will say3 ,learn the letters2 get a variety of alphabets in your head2 the more you have the better you will be prepared to do a pleasing variety of sign writing4 ,a variety of letters arranged in alphabets are given in the following pages as a convenient means of reference for the painter who may desire to refresh his memory1 as to the form of any letter represented1 or to make a study of them with a view of acquiring a knowledge of the formation of letters generally4 ,illustration3 ,no4 #a4 ,,gothic ,,condensed ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 4 ,illustration3 ,no4 #a4 ,,gothic ,,condensed--continued4 a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #f #g #h #i #j 1 4 ,illustration3 ,no4 #b4 ,,blanchard4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z #a #b #c #d #e #f #g #h #i #j a b c d e f g h i j k l m n o p q r s t u v w x y z 1 4 ,illustration3 ,no4 #c4 ,,alaskan4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z #a #b #c #d #e #f #g #h #i #j 1 4 ,illustration3 ,no4 #d4 ,,old ,,style ,,extended4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #e4 ,,lining ,,gothic4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #f4 ,,condensed ,,de ,,vinne4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j a b c d e f g h i j k ,i m n o p q r s t u v w x y z ,illustration3 ,no4 #g4 ,,gothic ,,shaded4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #h4 ,,ronaldson ,,slope4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #i4 ,,florentine4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #aj4 ,,french ,,old ,,style4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 ,illustration3 ,no4 #aa4 ,,livermore4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #f #g #h #i #j ,illustration3 ,no4 #ab4 ,,caslon ,,old ,,style4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j a b c d e f g h i j k l m n o p q r s t u v w x y z ,illustration3 ,no4 #ac4 ,,satanick4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z ,illustration3 ,no4 #ac4 ,,satanick--continued4 a b c d e f g h i j k l m n o p q r s t u v w x y z #a #b #c #d #e #f #g #h #i #j 4 1 6 8 ,illustration3 ,no4 #ad4 ,,columbus4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j a b c d e f g h i j k l m n o p q r s t u v w x y z ,illustration3 ,no4 #ae4 ,,bradley4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 4 ,illustration3 ,no4 #af4 ,,doric ,,italic4 ,a ,b ,c ,d ,e ,f ,g ,h ,i ,j ,k ,l ,m ,n ,o ,p ,q ,r ,s ,t ,u ,v ,w ,x ,y ,z 1 4 #a #b #c #d #e #f #g #h #i #j ,,list ,,of ,,prices ,,and ,,mode ,,of ,,measurement4 ,prices for ,painting and ,glazing4 ,,square ,,measure4 ,plain weather boarding1 close fencing1 ledge doors1 partitions1 paling fences1 etc4 ,all common colors1 viz43 ,white1 light yellow1 slate1 pearl1 light drab or cream color1 for each coat1 per yard #h cents ,each coat of varnish #aj cents ,,panel ,,work4 ,flush panel work1 panel doors1 recesses1 etc41 the above colors1 for each coat1 per yard #aj cents ,the same in two colors #ab cents ,the same in three colors #ad cents ,striping after other work is finished1 per foot1 lineal measure #a cent ,for expensive or unused colors1 per yard1 additional #a cent ,for each coat of varnish1 per yard #ab cents ,for each coat of shellac1 per yard #ab cents ,,brick ,,work4 ,per ,yard4 ,first coat #ae cents ,second coat #ab cents ,third coat #aj cents ,penciling #ae cents ,mastic or cement1 first coat #bj cents ,additional coats1 same as brick4 ,,inside ,,wall ,,painting4 ,per ,yard4 ,first coat #ab cents ,second coat #aj cents ,third coat #h cents ,,stopping ,,and ,,cleaning4 ,ordinary puttying1 charge price of first coat for the several kinds of work4 ,puttying longitudinal joints in ceilings1 siding1 floors1 etc41 to be charged from two to four times the price of first coat for the several kinds of work1 at the discretion of the measurer4 ,,surfacing1 ,,staining ,,and ,,varnishing4 ,each coat surfacing #aj cents ,each coat stain #h cents ,each coat varnish #ab cents ,,lineal ,,measure4 ,pilasters1 architraves1 frames1 jambs1 base mouldings1 etc3 ----,each ,coat---- ,girth4 ,per ,foot4 ,varnish4 #a to #d inches c c #d to #f inches c #a c #f to #h inches #a c #a;c #h to #aj inches #a;c #a;c #aj to #ab inches #a;c #a;c #ab to #ad inches #a;c #b c #ad to #af inches #b c #b;c #af to #ah inches #b;c #b;c #ah to #bj inches #b;c #b;c #bj to #bb inches #b;c #c c #bb to #bd inches #c c #c;c ,larger dimensions taken in square measure4 ,column mantels as above4 ,panel jambs1 door casings1 etc41 to be measured by the above rule4 ,plain rosettes1 add one foot to length4 ,carved rosettes1 add two feet to length4 ,other carved or ornamental work at the discretion of the measurer4 ,,mode ,,of ,,measuring4 ,begin at wall1 press line in all quirks to bead at edge of jamb casing for girth4 ,for jambs take inner sash rabbet to corner bead1 double the height and measure between jambs for length4 ,,string ,,board1 ,,etc4 ,per ,foot4 ,plain1 each coat #b cents ,bracketed1 each coat #c cents ,carved1 each coat #d cents ,staff beads1 each coat cent ,edge of shelves1 each coat cent ,,cornices ,,and ,,columns--,,plain4 ,per ,foot4 ,girth1 #a to #b feet1 each coat #c cents ,girth1 #b to #c feet1 each coat #d cents ,girth1 #c to #d feet1 each coat #e cents ,girth1 #d to #e feet1 each coat #f cents ,plain caps on columns1 add to length two feet4 ,ornamental caps on columns1 add to length four feet4 ,,cornices ,,with ,,brackets4 ,per ,foot4 ,girth1 #a to #b feet1 each coat #d cents ,girth1 #b to #c feet1 each coat #f cents ,girth1 #c to #d feet1 each coat #h cents ,girth1 #d to #e feet1 each coat #aj cents ,girth1 #e to #f feet1 each coat #ab cents ,larger dimensions in proportion4 ,dental cornices1 same price as brackets4 ,,mode ,,of ,,measuring4 ,for girth1 begin at top1 press line into all quirks and over each member to the bottom1 and to the length add one-half the medium girth of the brackets multiplied by their number4 ,,priming ,,or ,,tracing ,,and ,,glazing ,,sash4 ,,each ,,size1 ,,per ,,light4 ,old ,priming ,glazing or ,new and ,glass ,tracing4 ,glazing4 ,s4,s4 #h to #aj #ab to #ad #j4ja #j4je #j4bj #ab #af or #ah 4#ja 4#jh 4#ce #ad #bd 4#jb 4#aj 4#dj #ah #bd 4#jc 4#ad 4#ej ,d4,s4 #bd #cj 4#je 4#ah #a4jj #bf #cf 4#jf 4#bj #a4cj #cj #cf 4#jh 4#be #a4fe #cf #dj 4#aj 4#cj #dj #dd 4#ab 4#ce #dj #ej 4#ad 4#dj #dj #ej 4#af 4#ej #ej #fj 4#ah 4#fj #ej #gj 4#bj 4#ge ,these prices do not apply when called out to glaze one or two lights4 ,for back puttying add one-quarter1 and for bedding add one-half1 to the above rates4 ,in new glazing cost of glass not included4 ,all breakage at the risk of the owners1 if glass is furnished by them4 ,to all bills of glass furnished by the trade #bj per cent4 will be charged additional4 ,,plate ,,glass4 ,sizes same as table above1 at same prices4 ,sizes above to #ij square feet1 #e per cent4 on net cost delivered2 #ij to #ajh square feet1 #h per cent42 #ajh square feet and upwards1 #aj per cent4 ,removing old glass1 same as above4 ,the owner to pay cost of taking up large glass above first floor4 ,unless otherwise provided for1 glazier puts glass in at his own risk of breakage1 but cutting will be at owner's risk4 ,,sanding4 ,first coat of sand equal to two coats of paint1 in addition to paint4 ,second coat of sand equal to three coats of paint1 in addition to paint4 ,,graining--,,square ,,measure4 ,per ,yard4 ,plain oak #j4dj ,plain walnut or ash 4#gj ,plain satinwood or maple 4#gj ,plain mahogany or cherry 4#gj ,shaded oak 4#ej ,penciled oak or ash #a4jj ,penciled chestnut or cherry #a4jj ,penciled walnut #a4jj ,rosewood #a4jj ,oak root #a4ej ,,lineal ,,measure4 ,girth4 ,graining4 ,varnishing4 #a to #d inches1 per foot #j4jc #j4jj #d to #f inches1 per foot 4#jd 4#ja #f to #h inches1 per foot 4#je 4#ja #h to #aj inches1 per foot 4#jf 4#ja #aj to #ab inches1 per foot 4#jg 4#ja #ab to #ad inches1 per foot 4#jh 4#jb #ad to #af inches1 per foot 4#ji 4#jb #af to #ah inches1 per foot 4#aj 4#jb ,other members in proportion4 ,graining edges of shelves1 per foot1 #a cents4 ,graining sash1 double the price of plain painting4 ,,marbling--,,square ,,measure4 ,white1 per yard #j4ge ,other kinds1 per yard #a4jj ,varnishing1 each coat1 per yard 4#ab ,,lineal ,,measure4 ,all members ----,per foot---- from ,marbling4 ,varnishing4 #a to #h inches girth #j4jh #j4ja #h to #aj inches girth 4#ab 4#ja #aj to #ab inches girth 4#af 4#ja #ab to #ad inches girth 4#ah 4#jb #ad to #af inches girth 4#bj 4#jb ,larger members in proportion4 ,,cleaning ,,and ,,kalsomining4 ,ceilings and walls1 per yard #j4af ,plain cornices1 #a to #b feet girth1 per foot 4#jb ,plain cornices1 #b to #d feet girth1 per foot 4#jc ,add to the above for each color1 if more than one1 #a cent per foot4 ,,deductions4 ,the price of any work measured and not specified in this list shall be fixed by the measurer4 ,the measurer is hereby authorized to deduct from #e to #bj per cent4 from the price of any work that in his judgment is not first-class4 ,,fees ,,for ,,measuring4 ,jobs amounting to #aej or less #e per cent4 ,jobs amounting to over #aej and less than #ejj #d per cent4 ,jobs amounting to over #ejj and less than #a1jjj #c per cent4 ,jobs amounting to over #a1jjj #b per cent4 ,sign ,painting4 ,,facia ,,signs4 ,gold4 ,plain4 #ab feet long #h4jj #d4jj #ad feet long #i4jj #d4jj #af feet long #aj4jj #e4jj #ah feet long #ab4jj #f4jj #bj feet long #ae4jj #g4jj #bd feet long #af4ej #h4jj ,above includes two coats of paint4 ,,brass ,,signs4 #c #ad inches #c4ej #d #bj inches #e4jj #f #h inches #d4jj #f #ab inches #d4ej #h #ad inches #e4jj #aj #ad inches #e4jj #ab #ag inches #f4jj #ad #bj inches #g4jj #ah #be inches #aj4jj #bd #cj inches #ae4jj ,sill signs1 per square foot #c4ej ,square signs1 per square foot #c4jj ,,to ,,make ,,hard ,,putty4 ,for ,carriage ,work4 ,mix equal parts of dry and keg white lead with equal parts of rubbing varnish and gold size japan2 mix thoroughly and pound well4 ,for ,hurried ,work4 ,mix dry white lead with equal parts of rubbing varnish and gold size japan4 ,keep hard putty covered in water when not in use4 ,,to ,,make ,,and ,,apply ,,kalsomine4 ,soak one pound good white glue in cold water until soft1 then pour off the cold water1 and dissolve the glue in hot water4 ,mix twenty pounds of good whiting in water to a thick paste2 dissolve one pound of alum in water1 and add it to the mixture4 ,before mixing the glue and whiting1 put in your tinting colors1 which should be ground in water4 ,test your color by dipping in a piece of paper and letting it dry4 ,after you put in the glue1 test in the same way to see if there is enough glue to bind it well1 then set your kalsomine aside to get cold4 ,thin to good workable consistency with cold water4 ,have in enough glue to hold it from washing up when you have to put on a second coat4 ,too much glue will cause the kalsomine to go on hard1 and crack and scale off when dry4 ,if it dries too fast1 add two ounces of glycerine to one gallon of kalsomine4 ,have good staging1 and two men for a good sized room4 ,use good kalsomine brushes1 and work fast4 ,lay on the kalsomine freely2 the beauty of the work will depend upon how you lay it off1 and level it up4 ,put it on not as you would paint1 all one way1 but work your brush in all directions1 until your work is level1 then carefully lay it off with light strokes4 ,for a white job put in a little blue4 ,if you have never done a job of kalsomining1 and have no one to aid you1 practice on the wall in your shop or any other place1 until you get the knack of it4 ,cover a small space and see how it comes out4 ,always finish lightly with the point of your brush4 ,if an edge dries1 stop and wet it with a clean brush and clear water2 if careful you can join to it without showing 8laps40 ,if you find you have missed any spots wet the edges in the same way1 and carefully touch them up with kalsomine4 ,if you find after all your precautions1 a water stain has come through your kalsomine1 wet the place with a solution of sugar of lead1 made in proportion of #a ounce sugar of lead to #a quart of rain water2 it may kill the stain4 ,see article on wall sizing and water stains1 page #ci4 ,rough places in plaster take more color than a smooth wall1 hence they are liable to show spots2 so it stands you in hand to make such places smooth as possible2 to do this take off the rough sand with sandpaper and knife or trowel on a thin coat of plaster paris1 or give the rough places an extra coat or two or size4 ,fill all cracks and holes1 and give the filling time to dry before putting on the size1 because otherwise it will take more color than the balance of the wall and your work will look spotted4 ,in the kalsomining season have some large tubs and mix up as much whiting in hot water as you will need for several days4 ,add your color1 glue1 size and alum to as much only as you want for immediate use4 ,in hot weather ,i use liquid glue4 ,,liquid ,,glue ,,for ,,kalsomine ,,and ,,wall ,,sizing4 ,for use in hot weather1 a liquid glue which will not decompose and smell badly is very desirable to the workmen and the inmates of the house4 ,no4 #a4 ,to make such a glue fill a bottle a little more than half full of broken up good white glue1 and fill the bottle with common whisky or equal parts of alcohol and water4 ,let it stand a few days and it will dissolve the glue2 this glue will keep for years4 ,keep the bottle corked4 ,no4 #b4 ,melt your glue in the usual way1 thick as you will want it for any purpose1 then put in or ounce nitric acid to each pound of glue used2 enough to give the glue a sour taste1 like vinegar4 ,the acid keeps it in a liquid state1 and from spoiling4 ,if you melt the glue in an iron kettle pour it into a wooden vessel1 before you add the acid1 otherwise the acid will act on the iron and blacken the glue4 ,when wanted for use it can be thinned as desired with cold water2 a cask full of this made up and kept air tight so the water will not evaporate will be found very handy to draw from1 when you want a little in a hurry for glue size or kalsomine4 ,when you make it up in this way put in at least #a ounce of acid to the pound of glue to make sure it will keep liquid1 so you can draw it from the cask4 ,acetic acid will answer the same purpose as nitric acid1 but it will take more of it and make the liquid glue more expensive4 ,,to ,,prepare ,,an ,,old ,,wall ,,for ,,paint ,,or ,,paper4 ,first cut out all the cracks ,v shape1 clean out the holes and bevel the edges same as the cracks4 ,then fill with fine plaster paris mixed with thin glue size4 ,fill with care2 when dry1 sandpaper the filling smooth and level4 ,if the wall is sandy or rough1 sandpaper it smooth as you can4 ,if the holes are large1 have a plasterer stop them1 if you can2 if you fail in that1 and the job must be done soon1 fit in thin boards1 fill around the edges with plaster1 and paste on cloth1 or extra paper2 but to do a nice job you must insist on having the large holes plastered4 ,if the hole is up out of reach1 and too large for you to fill1 cement the edges with plaster1 stretch a piece of cloth1 or extra thickness of paper over it1 and it will look all right1 because the paper will shrink tight when it dries4 ,if you find places where the clinches are broken1 and the plaster is loose1 press the plaster back to its place if you can1 and cut small holes through the plaster and turn small broad headed screws into the lath even with the plaster and cement around the screws with plaster paris4 ,if it is a smooth wall with rough1 sandy patches1 sandpaper down the patches a little below the level of the wall1 sweep out the loose plaster1 give a coat of glue size1 and knife or trowel in a coat of plaster paris mixed with glue size or vinegar1 and when dry1 sandpaper until smooth and level4 ,there are several points to be considered and provided for in filling cracks in a plastered wall preparatory to painting4 ,first1 are the edges of the cracked wall level8 ,to determine this1 lay your rule across the crack1 and if you find the plaster on one side of the crack higher than the other1 it shows that side of the wall has sprung out of place1 because the laths are loose or the clinches are broken4 ,the first thing on the program is to get the highest edges back to 8place40 ,failing in that1 the next best thing is to raise the other side4 ,if that scheme don't work1 the next method is to use sandpaper on a block and rub down the highest side with a wide bevel to match the lowest1 otherwise your filling will be at an angle more or less acute with the general surface of the wall1 and cast a shadow or reflect the light according to which way the light falls upon it1 and the place where the crack was will 8show0 in spite of your best efforts to conceal it4 ,if you find one edge of a crack higher than the other1 gently press against it1 and if it goes back to place1 cement it with plaster paris wet up in clear water1 and it will set in three minutes hard enough to hold the plaster in place4 ,if the loose edge will not go back by gentle pressure1 lay a piece of board over it and push hard as you dare to and not crush the plaster4 ,if it is still obstinate1 drill out a piece and insert a bent wire or other instrument made on purpose1 and see if you can feel the obstruction and remove it4 ,failing in this1 see if you can raise up the lower side to a level with the highest and cement it fast4 ,if the last scheme is too much for your patience and ingenuity1 resort to the block and sandpaper1 and rub down the high side with a wide bevel to match the other4 ,the next point is to prevent the paint near the edges of the crack1 and on the filling which we put in1 from drying flat while the balance of the wall bears out a gloss4 ,to do this we must find out the cause of the 8flatting0 near the edges of the crack and over the 8filling40 ,if we examine into the matter1 we will find that when the wall cracked the plaster adjacent was more or less fractured and made more porous than the uninjured portions of it4 ,hence1 more oil is drawn from the paint near the crack than where the wall is solid4 ,now1 for the remedy3 ,with a small pointed brush wet the edges of the crack with linseed oil until they will take no more in4 ,let the oil dry1 and fill the crack with plaster mixed with thin glue size1 but have the top of the filling one-sixth of an inch below the surface of the wall4 ,let the filling dry1 and with a fine pointed brush paint over the top of the filling and the edges of the crack4 ,let the paint dry1 and finish filling with hard putty4 ,let the putty dry1 and sandpaper the job smooth and level4 ,if you have to bevel the highest edge with sandpaper1 first fill the beveled portion with oil4 ,let the oil dry1 and fill the pores with hard putty1 because the part beveled with sandpaper will be more porous than the balance of the wall4 ,treat and fill all small holes by the same method4 ,filling cracks in this way is a little tedious1 ,i admit2 but it is the only way that ,i know of to stop a crack in plaster1 so it will stay stopped and not show after it is painted4 ,,how ,,to ,,paint ,a ,,plastered ,,wall4 ,prime with lead and raw oil1 tinted like succeeding coats4 ,have the prime thin1 not more than five pounds of white lead to the gallon of oil2 add a little benzine or turps to make it more penetrating4 ,if the room is cool1 warm up your prime before you add the benzine or turps4 ,the idea is to have it penetrate as much as possible2 brush the prime well into the wall4 ,if it is a sand wall1 brush off the loose sand4 ,if it is a smooth one1 putty coated or hard finished wall1 see that there are no lumps or grains of sand left on the surface4 ,it is a good idea to pass the hand over the wall to feel the lumps1 and to knock off lumps and grains of sand by going over the work with sandpaper4 ,for second coat use glue size1 made as directed on another page4 ,third coat4 ,mix so as to dry with a gloss1 have the body fairly thick1 and spread it well out4 ,mix with #c parts linseed oil to #a part turps4 ,fourth coat4--,if this coat is to be flat1 mix it thick enough to cover well2 mix mainly with turps1 if the weather is hot1 or from any other cause the paint don't work well1 add a little linseed oil4 ,for an egg shell gloss1 use about #a part oil and #c parts turps4 ,if the wall is to be finished in stipple1 mix the last coat half oil and half turps1 rather thick1 and add a little japan4 ,to stipple strike the paint evenly and continuously with the square end of a large brush1 made for the purpose2 a new clean duster will do4 ,let the stippler follow the painters4 ,the coat of glue size saves two coats of paint4 ,it is put on after the prime to keep moisture and air from the glue1 otherwise it would be liable to decay4 ,use boiled oil in all coats except priming coat4 ,have only enough difference in the color of the different coats1 so you can see where you have painted1 and not leave holidays2 especially in rooms where the light is not very good4 ,some painters advocate 7especially on hard finished wall7 a good filling of clear linseed oil1 before any paint is put on to keep the surface from fire cracking4 ,it is risky business to paint a new hot wall2 in such cases if it must be done before the lime has become somewhat neutralized1 give it a coat of vinegar1 and let it stand a day or so before you put on the prime4 ,the vinegar will neutralize the lime and not hurt the priming4 ,,to ,,prepare ,a ,,rough ,,sandy ,,wall ,,for ,,paint ,,or ,,paper4 ,if you have a rough brown mortar wall to paper and want to make the job look smooth as possible1 first go over it lightly with ,no4 #b paper to knock off the loose and most prominent grains of sand2 then with ,no4 #b paper rub down all 8cat faces0 and trowel marks2 level up all hollows with plaster paris wet up in thin glue size or vinegar1 and you will be ready to put on the lining paper4 ,this paper should be soft and porous so that it will quickly absorb paste and not blister2 good white blank wall paper having but little color will answer very well for this purpose4 ,start in to hang it with half a strip in width so as to break joints with the next coat2 use sufficient paste to make the paper stick to the wall2 butt the edges and be sure when the paper is dry that there are no loose places4 ,right here is the turning point of your job for 8good or for bad40 ,pound the lining paper down so closely that all the prominent grains of sand will show through1 and be sure to make it stay there until dry4 ,when the lining paper is dry1 go over it with good sharp ,no4 #a sandpaper and cut out all the prominent grains of sand which show through the paper1 being careful to rub no more than is necessary to take out the sand2 the idea being to cut through to the prominently projecting grains of sand1 and rattle them out4 ,some walls will need a second coat of lining paper and another sandpapering1 before they are smooth enough for anything like a fine job4 ,if the owner refuses to stand the expense of putting on lining paper1 glue size the wall1 and when dry1 knock off the prominent grains of sand with sandpaper and knife in plaster paris putty on the rough places4 ,in either case1 take extra pains with portions of the wall where there are side lights1 which always magnify rough places4 ,sandy walls may be leveled and smoothed somewhat with a coat of kalsomine to hold light bodied paper4 ,make a kalsomine of good white glue1 #a pound to #ae pounds of whiting and half a pound of alum4 ,dissolve the glue and alum in the usual way4 ,when the kalsomine is dry1 give the surface a thin coat of glue size to stop the suction4 ,let the glue size dry1 then put on the paper2 use light paste1 and be sparing of it as you can and make the paper stick4 ,i have often noticed that too much or too little paste is used in paperhanging2 some walls and some papers require more paste than others4 ,too much paste on a smooth wall1 or too little on a rough one1 makes bad work4 ,if you use a roller for seams have it covered with short plush4 ,to paint on a wall covered with lining paper as above described1 first put on a coat of glue size4 ,,to ,,paint ,,over ,,newly ,,plastered ,,cracks ,,in ,,walls4 ,when the painter has to paint over holes and cracks in walls recently filled by the plasterer1 he will be likely to have to deal with plaster made in part of fresh lime4 ,in such cases1 it is always best to soak the newly plastered places with strong vinegar1 to kill as much as possible the caustic properties of the lime4 ,put on the vinegar plentifully and let it soak in2 when dry1 give the new plaster a coat of size made of linseed oil1 japan and turpentine2 when dry1 put on a coat of white shellac before painting4 ,,flashed ,,glass ,,signs4 ,flashed glass is clear on one side and colored on the other2 the colored glass forming only a thin film on one side of the clear glass4 ,we can make elegant signs on this glass by etching the letter through the colored portion of the glass1 making the letters clear and the background colored2 or by etching out the background and leaving the letters colored4 ,lay out the letters on paper1 and place it under the glass as a guide to work by2 then1 with asphaltum varnish cover the background and leave the letters free and clear2 in other words1 8cut around them40 ,if you want a clear background with colored border and colored letters1 cover the letters and border and leave the background free and clear4 ,then melt some beeswax1 and when it begins to cool1 take up a small portion of it with a putty knife and scrape it off on the edge of the glass1 and repeat the operation until a wall or dam is made all around the glass1 to hold the acid you are about to put on the glass1 from running off2 then pour on a little hydrofluoric acid1 and it will etch out the colored glass not covered by the asphaltum in about one hour2 then you can pour the acid back into your bottle1 to be used again4 ,next wash the glass by pouring water over it2 then scrape off the wax1 and take off the asphaltum with turpentine4 ,some painters use a varnish made by melting together equal parts of paraffine and asphaltum and thinning to working consistency with turpentine4 ,,fluoric ,,acid1 ,,to ,,make ,,for ,,etching ,,purposes4 ,you can make your own fluoric acid 7sometimes called hydrofluoric7 by getting the fluor spar1 pulverizing it and putting as much of it into sulphuric acid as the acid will cut or dissolve4 ,druggists through the country do not keep this acid generally1 but they can get it in the principal cities4 ,one ounce will do at least fifty dollars worth of work4 ,it is put in gutta percha bottles or lead bottles1 and must be kept in them when not in use1 having corks of the same material4 ,glass1 of course1 will not hold it1 as it dissolves the glass1 otherwise it would not etch upon it4 ,,liquid ,,wood ,,fillers ,,for ,,cheap ,,work4 ,corn starch and cheap varnish are the principal ingredients of many cheap wood fillers2 the corn starch is mixed with the varnish and thinned with turps until workable4 ,you can experiment on this idea4 ,corn starch in shellac in proportion of #a pound to the gallon doubles its capacity as a filler4 ,i have made and used a filler for cheap work in this way3 ,pale rosin1 #b pounds2 boiled oil1 #a gallon2 japan1 #a pint4 ,melt the rosin in the oil1 take the kettle outside1 and add gallon turpentine2 stir and when cold add pound of corn starch4 ,thin with turps until workable4 ,add more or less starch1 according to the surface you want to fill4 ,these mixtures are all the better if run through a paint mill4 ,,another ,,paste ,,filler4 ,corn starch mixed to a paste with one part linseed oil1 two parts each japan and rubbing varnish2 thin to working consistency with turpentine4 ,,carriage ,,painting ,,in ,,the ,,village ,,shop4 ,,new ,,work4 ,prime with white lead1 mixed thin in oil1 add a little japan and turpentine to make the paint dry hard and quick2 when the priming is dry and hard1 putty up with hard putty as directed on another page4 ,then follow with two coats of keg lead thinned with turpentine2 add a little japan to make it dry hard1 and a little oil to make it work well4 ,carefully mix and strain your paint4 ,give the body five coats of rough stuff1 made as directed on page #add and a guide coat1 and when dry1 proceed to cut down the rough stuff4 ,for this purpose your tools will be several pieces of pumice stone1 a pail of water1 a large flat file1 a good sponge and a chamois4 ,flatten one side of your stone for a grinding surface and have no thin edges1 because they will keep breaking off and be liable to get under the stone1 and scratch your work4 ,now1 two of the most important things you will have to guard against is cutting through the rough stuff and lead coats1 and scratching the surface4 ,there is a great difference in pieces of pumice stone4 ,some are hard and full of flint like particles1 which will scratch the work2 others are softer and of more even grit2 the light colored and fairly open grained pieces are the safest to use4 ,you can tell a fast cutting stone by its open grain and lightness4 ,the finer grades of ,german rubbing brick and ,english rubbing stone are also used in rubbing rough stuff4 ,a stone with a broad surface is preferable for large surfaces4 ,have small pieces to rub around the bolt heads and other places which are difficult to get at with the large stone4 ,the practiced workman can tell the moment a stone begins to scratch1 both by the sound and by the feeling to the hand1 and you may train your ear and nerve to this degree of sensitiveness2 until you do so1 you will have to look sharp1 and frequently rub your stone on the file1 and clean off your work with a sponge full of water to see the condition of the work4 ,also by passing your hand back and forth across it to determine the condition of it1 or if there is any large grit on it1 liable to get under the stone and scratch4 ,rub until the brush marks are gone1 etc41 which your guide coat will show you4 ,use plenty of water while rubbing4 ,thoroughly wash the body inside and out4 ,when dry1 sandpaper lightly over the body to remove any grit which may be left on1 and to clean out around the irons and panels1 also to sand off the irons which you have not rubbed4 ,dust and wipe well1 and when ready1 put on a coat of drop black1 ground in japan4 ,in mixing your drop black1 stir it before you add any turps1 then add a little turps1 and stir again until it is beaten to a smooth1 soft paste2 then add sufficient turps to make a workable paint1 thin enough to go on easily with a camel hair brush1 which for body work on buggies should be not less than one and one-half inches wide and double thick4 ,painters disagree as to the use of oil in this coat4 ,i like to use a very little good raw oil1 say a teaspoonful to a pint of color4 ,it is a good idea to keep a brush on purpose to coat the inside of the body1 because it is not usually made as smooth as the outside4 ,some practice putting on the color coat in the morning and the color varnish towards evening1 but ,i prefer a longer time1 say twenty-four hours at least1 and more1 too1 especially when ,i use a little oil in the color coat4 ,rub the color with curled hair or hair cloth1 dust well1 and put on your color varnish2 some say with a bristle varnish brush1 but ,i prefer to mix it so ,i can use a camel hair brush4 ,for this coat mix drop black to a workable paint with equal parts of turps and good body varnish4 ,when this coat is dry1 give the body a coat of good rubbing varnish1 using a fine bristle varnish brush4 ,flow on a free coat1 lay off to right and left1 and finish with up and down strokes across the work4 ,never put a full brush at the lower edge of the body1 because in that case1 you will be apt to get a fat edge4 ,watch for sags or runs1 which you can brush out1 if discovered before the varnish sets4 ,if a sag or run should get the start of you on this coat1 and you see it after the varnish begins to set1 squeeze the varnish out of your brush1 wet the point of it in turps1 and carefully work out the sag or run4 ,now1 dust off the running parts1 and put on a coat of color4 ,some say1 have a little more oil in the color for the gear than for the body1 but ,i would not advise the use of more4 ,when dry1 put on a coat of color varnish4 ,when dry1 rub down with hair or hair cloth1 and your gear is ready to stripe4 ,to paint a wheel1 paint one spoke at a time1 paint both sides and the edge next to you1 then take your brush in your left hand and paint the back edge1 and so on1 until the spokes are finished4 ,next paint the hub1 then the outside and inside of the felly1 then finish the gear1 being careful to leave no laps4 ,use only fine lines for striping a buggy4 ,on the springs1 bars1 spoke faces1 hubs and tongue is all the striping needed4 ,orange chrome1 red1 gold1 bronze and light green1 all harmonize with black1 and either may be used for striping a black rig4 ,when ready to varnish1 set your gear on trestles4 ,varnish the wheel with a fine bristle varnish brush1 and flow on a full coat4 ,when done with a wheel1 set it running on the spindle1 and commence the next1 and start it off again two or three times1 while working at the next wheel1 and so on with all the wheels2 by this method you may avoid runs1 and be able to flow on a fuller coat than you otherwise could4 ,for a finer job1 give the gear a coat or two of clear rubbing varnish1 and rub each coat down with curled hair or hair cloth4 ,for a cheap job1 rub down the body with hair cloth1 but for a finer one1 rub it out with finely powdered pumice stone in water4 ,for this method1 you will need a pail of clear water1 some finely powdered pumice stone and a felt pad4 ,the object of this work is to take the gloss off the rubbing varnish1 and leave a smooth coat for the finishing varnish4 ,the particular knack is to rub just enough1 and then stop2 a little too much will cut through1 and spoil the job2 and not enough will not give you the best possible foundation for your finishing coat of varnish4 ,keep the work washed off as you go1 so you can see defective places1 and rub them out4 ,when done rubbing1 the next thing is to wash the body perfectly free from grit4 ,your water brush comes in play here to wash around irons1 etc41 where the pumice might lodge2 then with a pail of clear water1 rinse the body and wipe dry with a chamois skin4 ,right here is a good time to give the inside of the body a coat of color varnish1 and to put on your transfers1 if you use any4 ,some painters use a barrel for a body stand1 but one made on purpose1 of boards1 is better4 ,you want to look out for dust in every stage of the work1 but right here you must be especially careful1 because you are about to put on the finishing coat1 which can neither be sandpapered nor rubbed down4 ,you will learn from experience1 if not before1 that you cannot rely altogether upon the dust brush to free your work from dust and specks4 ,a large soft dry chamois kept for the purpose1 and never wet1 can be used to advantage to wipe off the dust left by the brush4 ,a hand bellows is very effective in taking dust out of corners where the brush or wiper cannot be worked4 ,when you have done all you can with the brush and wiper1 rub the work over with your hand and the sensitive nerves of your fingers will detect any specks which may still adhere to the surface4 ,some other essentials to a good job of varnishing are a clean room1 free as possible from dust1 clean brushes1 and cups1 and the person of the varnisher so dressed that he will not shed material for specks4 ,have one cup to hold your varnish and another to wipe your brush in4 ,use good varnish and never try to varnish a body with the temperature below #gj degrees ,f4 ,have a quill sharpened to a point to pick out any specks which you may discover on your work1 because it requires very favorable conditions1 and a mighty slick workman to prepare and varnish a body1 and not have it show at least a speck or two4 ,use a fine chiseled bristle brush and know that it is absolutely free from specks before you commence4 ,now1 when you are ready1 don't be timid or try to see how far you can make your varnish go4 ,keep in mind from the start that the nearer level--that is1 a uniform thickness--you can have your coat of varnish the less liable it will be to sag or run4 ,put on your varnish with a full brush1 laying it on right and left1 and brush as level as you can1 then finish with up and down strokes1 being careful to chisel off the surplus at the lower corner to avoid a flat edge4 ,note--,a friend of mine1 after laying on his varnish right and left1 finished with diagonal strokes across the surface at an angle of #de degrees1 then crossed it again at the same angle in an opposite direction4 ,he had uniform good success4 ,for an extra fine job1 give the work more coats of rubbing varnish1 and rub each coat with curled hair1 or hair cloth2 or you may knife on a coat of putty made of keg lead and equal parts of turps and japan2 rub it well in with the flat blade of the knife1 and when it sets or flats1 scrape off all surplus4 ,sandpaper when dry4 ,this may go on in the place of third lead4 ,you may1 when the job requires it1 knife on a coat of hard putty1 work it down smooth1 let it dry and cut down with sandpaper4 ,,old ,,work4 ,there are so many degrees of badness in repair work1 that it is not possible to cover the entire ground in a work of this kind4 ,they run all the way from the touch up and varnish job1 to the cracked1 scaled and almost paintless old rigs4 ,for a touch up and varnish job1 at least one which is in decent shape for such work1 wash the body1 give it a rubbing down with fine powdered pumice stone1 clean off and carefully putty cracks1 dents1 etc41 if any2 then touch up with color1 using a small camel's hair pencil1 and cover only where necessary4 ,when dry1 give a full coat of body varnish4 ,for a better job1 give the body a coat of black rubbing varnish 7provided the body is black71 then finish with a good coat of wearing body4 ,the gear may be treated the same as the body if in like condition1 but if the felloes are worn bare1 lead them up and color as you would new work1 then touch up the balance and varnish4 ,the great plague of the paint shop is cracked work1 which is otherwise solid4 ,where the varnish is hard but peeling1 take it off with ammonia2 to do this1 take a side of the body at a time1 pour out some ammonia in a cup1 and put it on with a clean brush kept for the purpose4 ,keep the side wet1 until you can slice off the varnish with a putty knife2 if it fails to come off1 you must keep it wet longer4 ,if the varnish is dead and soft1 sandpaper down to a solid foundation1 then if cracks show sheet up with quick hard putty made soft enough to put on with a brush1 and scrape off with a knife when set4 ,when dry1 sandpaper and if the cracks are not full1 give it a second application of putty in the same way4 ,then for a cheap job give it a coat of color varnish1 a coat of rubbing and a coat of body varnish4 ,if you are to do a fine job1 and can get pay for it1 and you find the body cracked1 burn off the old paint1 and commence at the foundation as in new work4 ,for a cheap job1 lead up the bare places on the gear and wheels1 give a coat of color and a coat of color varnish and finish with heavy gear varnish4 ,for a fine job1 if the old paint is cracked or scaled1 take it off and work up from the wood as on a new job4 ,,rough ,,stuff4 #a4 ,to make one coat per day rough stuff1 take three pounds of ,,reno',s filler and one pound of keg lead4 ,mix to stiff paste with equal parts of rubbing varnish1 and first-class japan1 thin with turps4 ,some painters add a little raw oil4 ,grind the filler fine4 #b4 ,french yellow ochre dry1 #e pounds2 keg lead #a pounds4 ,mix to stiff paste with equal parts gold size1 or best brown japan and rubbing varnish2 thin with turps and add a gill of raw oil4 ,grind fine4 ,,cleaning ,,phaeton ,,cushions4 ,this old phaeton cushion is too dusty for any use1 did you say8 ,i agree with you2 the old cloth-covered phaeton cushion is one of the unmitigated nuisances which we are often compelled to tolerate in the paint shop4 ,when such a cushion is once filled with dust its capacity for 8shedding0 seems to be unlimited4 ,the more you beat it and the longer you brush it1 the more dust comes to the surface4 ,you can take off a buggy cushion and relegate it to the backroom1 but the genius who invented that complicated vehicle called a phaeton1 nailed the cushions fast to the body1 and we must take them along with the job1 dust and all1 from the cleaning floor to the varnish room4 ,when ,i am so unfortunate as to have an old phaeton brought to my shop1 about the first thing ,i do after cleaning it up is to go for the cushions with the sprinkler and wet them down with clean water1 repeating the operation as often as may be necessary to keep in the dust4 ,spoil the cushions8 ,no6 ,when you run the rig out of the shop the owner will wonder what you have done to his cushions to make them look so bright4 ,the same operation works well on an old cloth-lined top4 ,after you have brushed all you think you can afford to1 and the dust keeps coming to the front1 turn the top bottom side up and give it a shower from the sprinkler1 and ,i will guarantee the dust to lie still long enough for you to dress the top and paint the bows4 ,dust is the natural enemy of the paint shop1 and water is one of our best weapons to fight it with4 ,,mixing ,,quick ,,color4 ,a quick-drying color can be slowed up and made to dry to any required time without injuring it1 while if ground in a slow drying preparation1 it cannot possibly be quickened without injuring more or less the working and covering properties4 ,the working is certainly important1 and the covering more so4 ,the covering property should be strong1 because the fewer coats of color on a job the better4 ,thus a quick dryer saves both labor and time4 ,japan colors are best when ground stiff1 or with barely enough liquid to bind them firmly1 because after being reduced to thinness with turpentine alone they will cling to the surface and will not smut4 ,the color will then have its greatest covering power4 ,now1 by the addition of sufficient pure raw oil to give the best working property1 and being also made to dry flat1 the color is as near perfection as possible1 and the further addition of anything weakens the covering power4 ,when an excess of japan is used in grinding1 the color is thin1 there being less pigment to the pound2 and it is of less value to the consumer1 while it affords more profit to the manufacturer than when prepared as it should be4 ,,black ,,varnish ,,for ,,gasoline ,,stoves1 ,,etc4 ,asphaltum two pounds1 boiled linseed oil one pint1 turpentine two quarts4 ,melt the asphaltum in an iron pot1 heat the oil1 and add it to the asphaltum while hot4 ,stir well4 ,when partly cool1 add the turpentine and four ounces of good japan4 ,,black ,,stench ,,ink4 ,shellac two ounces1 borax two ounces1 soft water twenty ounces1 gum arabic two ounces1 lampblack and indigo sufficient4 ,boil the shellac and borax in the water until dissolved1 then add the gum arabic2 dissolve and take the mixture from the fire2 when cold1 add enough lampblack to give it color and proper consistency1 and a little powdered indigo4 ,keep in glass or earthenware vessels4 ,,bronze ,,for ,,bright ,,metals4 ,red aniline 7fuscine7 ten parts1 purple aniline five parts1 alcohol #ie per cent4 one hundred parts1 benzoic acid five parts4 ,add the anilines to the alcohol1 and dissolve by placing the vessel in a sand or water bath4 ,as soon as dissolved1 add the benzoic acid and boil for five or ten minutes1 or until the greenish color of the mixture is turned to a brilliant light bronze2 spread with a brush on bright metal4 ,,varnish ,,to ,,fix ,,pencil ,,drawings4 ,gum mastic three ounces1 alcohol one pint4 ,dissolve and apply with a brush4 ,,rust ,,spots ,,on ,,marble4 ,apply a mixture of #a part nitric acid and #be parts of water1 then rinse with #c parts water and #a part ammonia4 ,,whitewash ,,to ,,soften4 ,to soften old whitewash which you wish to take off1 wet it thoroughly with a wash made of #a pound of potash1 dissolved in #aj quarts of water4 ,,water ,,glass ,,for ,,floors4 ,clean the floor1 fill cracks with water glass cement made of water glass and whiting1 then put on a coat of water glass1 to be followed by second coat2 when dry rub the last coat with pumice stone and oil4 ,,to ,,finish ,,redwood4 ,take one quart of spirits turpentine2 add one pound of corn starch2 quarter of a pound burnt sienna2 one tablespoonful raw linseed oil and one tablespoonful brown japan4 ,mix thoroughly1 apply with the brush1 let it stand1 say1 fifteen minutes1 rub off all you can with fine shavings or a soft rag1 let it stand at least twenty-four hours that it may sink into and harden the fibers of the wood2 afterward apply two coats of white shellac1 rub down well with fine flint paper1 then put on from two to five coats best polishing varnish2 after it is well dried rub with water and pumice stone ground very fine2 stand a day to dry2 after being washed clean with a chamois rub with water and rotten stone2 dry2 wash as before clean1 and rub with olive oil until dry4 ,some use cork for sandpapering and polishing1 but a smooth block of hardwood like maple is better4 ,when treated in this way1 redwood will be found the peer of any wood for real beauty and life as a house trim or finish4 ,,marking ,,ink4 ,asphaltum1 dissolved in turpentine to a thin fluid1 will give you an excellent marking ink for all purposes2 dries quickly1 does not spread1 and is nearly indestructible4 ,,formulas ,,for ,,mixing ,,colors4 7,,selected47 ,it is impossible to give infallible recipes for mixing colors1 on account of the difference in the tone and color strength of pigments1 both dry and in oil1 many samples having as high as fifty per cent4 of barytes or other white makewright material1 which not only lessens the color strength of the mixture in proportion to their volume1 but weakens the color1 in a small measure1 by their presence as white material4 ,hence1 color formulas are made subject to modification1 not only to please the taste of the mixer1 but on account of the presence of poor1 weak and adulterated pigments4 ,the writer has selected a few formulas from which the learner may gain some knowledge of colors1 which he can improve upon by experiment4 ,,note4--,part means in bulk1 not by weight4 ,plumb4--,white lead #b parts2 ,indian red1 #a part2 ultramarine blue1 #a part4 ,if too dark1 add more white lead4 7,outside47 ,brick4--,yellow ochre1 #b parts2 ,venetian red1 #a part2 white lead1 #a part4 ,if too dark1 add more ochre4 ,don't depend upon the common ochre of the stores4 ,it has but little tinting power4 ,use ,french ochre ground in oil4 7,outside47 ,bronze ,green4--,chrome green1 #e parts2 lampblack1 #a part2 burnt umber1 #a part4 ,if too dark1 use more green4 7,outside47 ,jonquil ,yellow4--,white lead tinted with chrome yellow and vermilion4 ,lead ,color4--,white ,lead1 #af parts2 ultramarine blue1 #a part2 lampblack1 #b parts4 7,outside47 ,light ,buff4--,white lead tinted with yellow ochre 7,outside47 ,lemon4--,lemon chrome yellow1 #e parts2 white lead1 #b parts4 7,outside47 ,brown4--,indian red1 #c parts2 lamp black1 #b parts2 yellow ochre1 #a part4 ,if too dark1 use more ochre or less black4 7,outside47 ,chestnut4--,venetian red1 #b parts2 lamp black1 #a part2 medium chrome yellow1 #d parts4 7,outside47 ,lilac4--,light ,indian red1 #c parts2 white lead1 #c parts2 ultramarine blue1 #a part4 ,purple4--,light ,indian red1 #d parts2 white lead1 #c parts2 ultramarine blue1 #b parts4 ,london ,smoke4--,burnt umber1 #b parts2 white lead1 #a part2 ,venetian red1 #a part4 ,brown4--,venetian red1 #c parts2 drop black1 #b parts2 chrome yellow1 #a part4 7,outside47 ,french ,gray4--,white1 tinted with ivory or drop black4 7,outside47 ,olive ,yellow4--,burnt umber1 #c parts2 lemon chrome yellow1 #a part4 ,for lighter shade1 add more yellow4 ,pearl4--,white lead1 #f parts2 ,venetian red1 #b parts2 lamp black1 #a part4 ,if too dark1 add more lead4 7,outside47 ,olive4--,lemon chrome yellow1 #aj parts2 ultramarine blue1 #a part2 light ,indian red1 #a part4 ,cream ,color4--,white lead1 #h parts2 ,french yellow ochre in oil1 #b parts2 ,venetian red1 #a part4 7,outside47 ,tan4--,burnt sienna1 #e parts2 medium chrome yellow1 #b parts2 raw umber1 #a part4 ,if too red1 add more raw umber4 ,pea ,green4--,white lead1 #e parts2 chrome green1 #a part4 ,vary the proportions to suit4 ,drab4--,white lead1 #aj parts2 burnt umber1 #a part4 ,vary to suit4 ,canary4--,white lead1 #f parts2 lemon chrome yellow1 #b parts1 or less1 as you like it4 7,outside47 ,fawn4--,white lead1 #h parts2 chrome yellow1 #a part2 ,indian red1 #a part2 burnt umber1 #a part4 7,outside47 ,grass ,green4--,lemon chrome yellow1 #c parts2 ,prussian blue1 #a part4 ,peach ,blossom4--,white lead1 #a part2 light ,indian red1 #a part2 ultramarine blue1 #a part2 lemon chrome yellow1 #a part4 ,light ,gray4--,white lead1 #aj parts2 ultramarine blue1 #a part2 lampblack1 #a part4 ,make lighter or darker by using more or less white lead1 as the case may require4 ,purple ,brown4--,dark ,indian red1 #d parts2 ultramarine blue1 #a part2 lampblack1 #a part4 ,light up with white lead to fancy4 ,if too purple1 use less blue2 if too red1 use more black4 7,outside47 ,leather ,brown4--,venetian red1 #b parts2 yellow ochre1 #d parts2 lampblack1 #a part2 white lead1 #b parts or more1 to suit4 ,if too dark1 use less black4 7,outside47 ,dregs of ,wine4--,tuscan red with a little lampblack and white lead4 ,leaf ,bud4--,equal parts white lead1 orange chrome and chrome green4 ,if too dark1 add more lead4 7,inside only47 ,coral ,pink4--,vermilion 7,english71 #e parts2 white lead1 #b parts2 chrome yellow1 #a part4 7,inside47 ,maroon4--,tuscan red1 #c parts2 ultramarine blue1 #a part4 ,if too red1 add more blue4 ,myrtle4--,dark chrome green1 #c parts2 ultramarine blue1 #a part4 ,light up with white lead4 ,stone4--,white lead1 #e parts2 ,french yellow ochre1 #b parts2 burnt umber1 #a part4 ,tint to desired shade with raw umber2 a very little will do4 7,outside47 ,snuff4--,medium chrome yellow1 #d parts2 ,vandyke brown1 #b parts4 ,rose4--,white lead1 #e parts2 carmine1 #b parts4 7,inside only47 ,portland ,stone4--,raw umber1 #c parts2 yellow ochre1 #c parts2 white lead1 #a part4 7,outside47 ,ashes of ,roses4--,white1 lightly tinted with black1 blue and lake4 7,inside only47 ,silver ,gray4--,tint white lead with lampblack and indigo4 ,fine ,chocolate4--,tint the best burnt umber with ,munich lake4 7,inside only47 ,fine ,maroon4--,tint any deep red lake with a little orange chrome yellow4 ,vienna ,smoke4--,tint fine burnt umber with lemon chrome yellow and a little ,venetian red4 ,quaker ,green4--,chrome green1 #c parts2 lampblack1 #a part2 ,venetian red1 #a part2 medium chrome yellow1 #a part4 ,chamoline4--,lemon yellow1 #a part2 raw sienna1 #c parts2 white lead1 #e parts4 ,clay ,drab4--,white lead1 raw sienna1 raw umber1 equal parts4 ,tint with chrome green4 ,pearl4--,white lead1 tinted with ultramarine blue and lampblack4 ,copper4--,medium chrome yellow1 #b parts2 ,venetian red1 #a part2 drop black1 #a part4 ,buttercup4--,white lead tinted with lemon chrome yellow4 ,flesh4--,white lead1 #h parts2 light ,venetian red1 #a part2 orange chrome1 #b parts4 ,olive ,brown4--,lemon chrome yellow1 #a part2 burnt umber1 #c parts4 ,deep ,buff4--,white lead tinted with yellow ochre and a little ,venetian red4 7,outside47 ,,some ,,expensive ,,colors4 ,claret4--,carmine1 #b parts2 ultramarine blue1 #a part4 ,carnation ,red4--,carmine lake1 #c parts2 white lead1 #a part4 ,chocolate4--,fine burnt umber1 #e parts2 carmine or lake1 #a part4 ,french ,red4--,indian red and ,english vermilion1 equal parts1 glazed with carmine4 ,rose4--,white lead1 #e parts2 carmine1 #b parts4 ,yellow ,lake4--,burnt umber and white lead1 equal parts2 tint with chrome yellow and lake4 ,,suggestions ,,for ,,tints ,,and ,,colors4 ,delicate ,flesh ,tints1 white predominating4--#ast1 white and light red2 #bnd1 white1 ,naples yellow1 vermilion2 #crd1 white1 vermilion and light red4 ,gray and ,half ,tints1 white predominating4--#ast1 white1 vermilion and black2 #bnd1 white and terre verte2 #crd1 white1 black1 ,indian red and raw umber4 ,deep ,shades1 color predominating4--#ast1 light red and raw umber2 #bnd1 ,indian red1 lake and black4 ,carnations4--#ast1 white and ,indian red2 #bnd1 white and rose madder2 #crd1 white and lake2 #dth1 white and ,naples yellow4 ,carnations1 color predominating4--#ast1 rose madder and white2 #bnd1 ,indian red1 rose madder and white4 ,green ,tints4--#ast1 white and ultramarine blue1 with any yellow2 #bnd1 white and terre verte2 add a little raw umber4 ,gray ,tints4--#ast1 ultramarine blue1 light red and white2 #bnd1 ,indian red lake1 black and white4 ,pearly ,white1 white predominating4--#ast1 white1 vermilion and black2 #bnd1 white1 vermilion and black2 #crd1 white and black4 ,gray4--,white1 ,venetian red and black4 ,yellow4--,yellow ochre and white4 ,olive4--,yellow ochre1 terre verte and umber4 ,sky4--,french blue and white4 ,,painting ,,cars ,,at ,,home4 ,probably no other subject dealing with the problem of the motorist has been so little1 or to be correct1 so unsatisfactorily treated as the home painting of cars4 ,most of the literature dealing with the subject is written in a technical vein1 purely for the delectation of the professional painter4 ,this naturally leads the novice to believe1 owing to the great number of coats these writers say is essential for good work1 that it is entirely out of the question for a car owner1 without previous experience in painting1 to repaint his car satisfactorily4 ,fortunately this is not true4 ,in the first place1 the fewer number of coats that can be applied and still accomplish the desired result1 will make far the most durable and lasting job of painting4 ,i maintain1 and have proven1 times without number1 that if a motorist really is in earnest about wanting to paint his cars1 the battle is more than half won4 ,give this class of motorists the proper material mixed ready for use with the proper brushes for their application1 and tell him how they should be used1 and #ii times out of #ajj he will paint his car so well that he will be sorry he had not done it before4 ,the quality of the material used in this kind of painting is of vital importance and unless they are the very best will give but limited wear4 ,and the proper brushes to use with the different coats is of equal importance4 ,about four-fifths the cost of automobile painting is labor1 so that a few dollars saved in buying the materials is false economy4 ,the general purpose enamels for sale in stores have no place on a motor car4 ,they belong to the home4 ,probably no other vehicle excepting a locomotive has harder service for paint to withstand4 ,hence1 the necessity for the very best materials4 ,there is one reputable concern selling repainting outfits to car owners so that greatly simplifies the painting problem1 if one wishes to do it himself4 ,these outfits include everything1 materials1 brushes1 and instructions1 and range in price from #f for a small runabout to #h and #aj for a roadster and touring car4 ,compared to #ce to upwards of #ajj that one has to pay a regular painter1 if one wishes to economize1 the painting affords a grand opportunity4 ,the fenders and hood of a car are subjected to severe wear and the time is coming when these parts will always be painted black1 regardless of the body color of the car4 ,in fact1 a great many of the new cars will be painted this way4 ,there are thousands of cars in use that hardly need repainting1 but if the hood and fenders were done over in black it would make them look almost like new cars4 ,there is one concern making these hood and fender outfits and a novice can do a really creditable job of painting with them4 ,they range in price from #c to #e and are in two coats with a suitable brush4 ,the gases from the motor are a big factor in dulling the paint on hoods4 ,it has the same effect that ammonia fumes from a stable has on horse-drawn vehicles4 ,this is one reason why the black painting of hoods is mighty sensible4 ,when your hood gets dull1 instead of laying up your car you can paint the hood yourself with little trouble and no loss of time4 ,for the novice to repaint the average car1 for instance a #cj ,h4 ,p4 touring car1 it would require in labor only a few hours on four or five different days4 ,the hardest part of the whole operation is preparing the car for paint4 ,it is absolutely necessary to have it thoroughly clean before applying any paint4 ,it should be well washed first1 and then given a gasoline bath to the parts on which dirt and grease have been allowed to accumulate4 ,it is really not so complex a proposition after all4 ,if a woman can paint furniture with enamels that are no better than they should be1 a man can surely paint a car if given the proper materials to do it with1 and if he be instructed in their use4 ,now as to striping4 ,this is of course out of the question for the novice4 ,but you can black the mouldings of the body1 seats1 doors1 hubs and rims of wheels so that the absence of striping is not noticed4 ,so far as the striping goes1 the tendency is away from it--in fact1 the most expensive cars have hardly any striping4 ,the blacking of the mouldings1 etc41 mentioned makes a harmonious contrast and takes the place of striping4 ,it looks in no ways amateurish--rather like the handiwork of the professional painter4 ,in addition to the saving that can be effected by repainting your car yourself1 there is the feeling of personal pride when the job is finished1 of having done something well yourself4 ,as the majority of the new cars have enameled lamps instead of polished brass as in years past1 ,i believe a few words on the subject will not be amiss4 ,in my experience of twenty years in the painting of vehicles1 locomotives and automobiles1 ,i have never had a harder proposition to solve than the enameling of polished brass lamps1 particularly gas headlights4 ,an enamel for this purpose must of necessity be made highly elastic1 so that it will contract and expand with the metal and stick on the polished brass surface without any previous roughing4 ,this means that only the most expensive materials can be used in the making of such an enamel4 ,there is one enamel of proven merit for this purpose on the market and it does not have to be baked4 ,i have seen a great many motorists who have used general purpose enamels on their lamps and the experience has usually been that the enamel leaves when the lights are lighted4 ,if ,i were buying an enamel for use on the brass parts of my car1 ,i should be very careful to buy the one that had been long on the market1 for there will undoubtedly be a large number of new ones offered4 ,i have made some pretty strong statements in the foregoing article1 and it is no more than right that ,i tell you that they are based on my experience of twenty years in the painting of carriages1 locomotives and automobiles1 two years as the expert for the largest paint and color house in the world1 and several years in the manufacture of the highest class of motor car paints4 ,,transcriber',s ,,note ,obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources4 ,some hyphens in words have been silently removed1 some added1 when a predominant preference was found in the original book4 ,except for those changes noted below1 all misspellings in the text1 and inconsistent or archaic usage1 have been retained4 ,pg iii3 removed duplicated line #8,black ,varnish for ,iron'4 ,pg iv3 line #8,oak ,wood ,stain' moved from page v to here1 under #8,oak ,stain'4 ,pg #ci3 #8gold againt the' replaced by #8gold against the'4 ,pg #de3 #8bottle #a-c full' replaced by #8bottle full'4 ,pg #fj3 #8dissolve #ij gains' replaced by #8dissolve #ij grains'4 ,pg #aje3 missing letter #8,w' inserted into alphabet caption4 ,pg #aai3 removed duplicated line #8,shaded oak'4 ,pg #aba3 a blank space has been replaced by 4 ,it probably was meant to be #8white lead'4 ,pg #abd3 #8nictric acid' replaced by #8nitric acid'4 ,pg #adf3 #8on acount of' replaced by #8on account of'4