,,now ,,ready4 ,second and ,enlarged ,edition4 ,the ,steel ,square ,,and ,,its ,,uses4 ,by ,,fred4 ,t4 ,,hodgson4 ,this is the only work on ,,the ,,steel ,,square ,,and ,,its ,,uses ever published4 ,it is ,thorough1 ,exhaustive1 ,clear1 and ,easily ,understood4 ,confounding terms and scientific phrases have been religiously avoided where possible1 and everything in the book has been made so plain that a boy twelve years of age1 possessing ordinary intelligence1 can understand it from end to end4 ,the ,new ,edition is ,illustrated with over ,seventy-five ,wood-cuts1 showing how the ,square may be used for solving almost every problem in the whole ,art of ,carpentry4 ,the following synopsis of the contents of the work will give some idea of its character and scope4 --,history of the 8,square40--,description1 with ,explanation of the ,rules1 ,figures1 ,scales1 and ,divisions shown on good ,squares4 --,brace ,rules1 ,octagonal ,scale1 ,board1 ,plank and ,scantling ,rules1 fully explained and described4 --,how to lay out ,rafters1 ,hips1 ,jack-,rafters1 ,purlins1 ,bevel ,works1 etc41 etc4 --,backing for ,hips1 ,lengths and ,bevels of ,valley ,rafters4 ,laying out ,stairs and ,strings4 --,how to describe ,circles1 ,ellipses1 ,parabolas and other figures1 with the ,square4 --,how to obtain ,bevels for ,hoppers and all kinds of ,splayed ,work and ,spring ,mouldings1 by the ,square4 --,bisecting ,circles1 ,proportion of ,circles1 ,division of ,widths1 ,bisection of ,angles1 ,diminishing ,stiles1 ,centering ,circles1 etc41 etc4 --,theoretical ,rafters1 ,cuts for ,mitre ,boxes1 ,measurement of ,surfaces1 including ,painting1 ,plastering1 ,shingling1 ,siding1 ,flooring1 ,rough ,boarding1 ,tinning and ,roofing4 --,rules for describing ,octagons and ,polygons of every description and how to find their angles and areas4 --,rules for finding the lengths of ,rafters and ,hips of ,irregular ,roofs1 ,cuts for ,equal and ,unequal ,mitres1 ,trusses and ,bevel ,timber ,work4 --,the ,development of ,hip and ,curved ,roofs2 ,veranda ,rafters1 ,straight and ,curved2 ,hopper ,cuts of all kinds1 ,angle ,corner-pieces1 ,splayed ,work for ,gothic ,heads1 etc41 etc41 and many other things useful to the ,operative ,mechanic4 ,handsomely ,bound in ,cloth with ,gilt ,title4 ,price ,,one ,,dollar4 ,,industrial ,,publication ,,company4 ,new ,york4 ,,hints ,,for ,,painters1 ,,decorators1 ,,and ,,paper-,,hangers4 ,,being ,a ,,selection ,,of ,,useful ,,rules1 ,,data1 ,,memoranda1 ,,methods1 ,,and ,,suggestions ,,for ,,house1 ,,ship ,,and ,,furniture ,,painting1 ,,paper-,,hanging1 ,,gilding1 ,,color ,,mixing1 ,,and ,,other ,,matters ,,useful ,,and ,,instructive ,,to ,,painters ,,and ,,decorators4 ,prepared with ,special ,reference to the ,wants of ,amateurs4 ,,by ,,an ,,old ,,hand4 ,,new ,,york3 ,,the ,,industrial ,,publication ,,company4 #ahhb4 ,,preface4 ,this little work is intended to furnish the ,,practical ,,house-,,painter--,,the ,,every-,,day ,,workman--with information sufficient to enable him to understand his business intelligently4 ,one of its objects is to deal with the nature1 characteristics1 qualities1 and defects of the materials employed by the class of artisans for whom it is written2 and to a limited extent this has been done with as little theory as possible2 high-sounding technicalities have also been avoided wherever the author has been able to make himself understood without them4 ,it is thought the young painter may derive great profit and advancement from a careful study of this book1 as the hints1 rules1 and recipes it contains are reliable1 practical1 and of every-day use4 ,the author has consulted many works on the subject1 and is indebted to many of them for much of the matter contained1 among which may be mentioned 8,building ,construction and ,materials10 8,house-,painter's ,hand-,book10 8,artists' and ,tradesmen's ,companion10 8,painter's ,guide10 8,chevreul's ,oils and ,paints10 and several other works of more or less note4 ,to this has been added many things discovered by the actual experience of the writer4 ,,contents4 ,,page ,preface1 iii ,preliminary1 #g ,preparation of ,surfaces1 #g ,materials ,used1 #h ,bases and ,vehicles1 #aj ,white ,lead1 ,genuine and ,adulterated1 #aj ,linseed and other ,oils1 #ac ,driers1 #ad ,coloring ,paints1 #ae ,blacks and ,blues1 #af ,yellows1 #ag ,browns1 #ah ,pinks and ,reds1 #ai ,lakes and ,orange1 #bj ,green1 #ba ,proportion of ,ingredients in ,mixed ,paints1 #bb ,table showing the composition of the different coats of white paint1 and the quantities required to cover #ajj yards of new work1 #bc ,operations1 #bd ,preparing the ,work1 #be ,taste in ,color1 #cj ,graining--,general ,remarks1 #cb ,graining in ,oak1 ,mahogany1 ,rosewood1 ,walnut1 ,maple1 ,satin-wood1 ,granites1 ,marbles1 etc41 #cf ,rules for ,mixing ,compound ,colors1 #da ,miscellaneous ,receipts1 for ,painting ,iron1 ,stucco1 ,glass2 ,gilding1 ,gilding on ,glass1 ,gilding ,fretwork1 ,painting on ,gilded ,panels1 ,gilding on ,wood1 ,gilding ,letters1 ,gilder's ,size1 ,staining ,wood1 ,staining ,floors1 ,varnishing1 ,painting ,brick-work and ,masonry1 ,french ,polish1 ,wood-filling1 ,rules for ,painters to ,observe1 #dc ,paper-hanging1 #ed ,operations1 #ef ,cleaning ,paper-hangings1 #eg ,varnishing ,paper1 #eg ,the ,making of ,paste1 #eh ,useful ,hints and ,table for ,estimating ,cost of ,work and ,materials1 #ei ,,hints ,,for ,,painters ,,and ,,paper-,,hangers4 ,there is a general belief abroad that anybody can execute all that is required of a house-painter4 ,this is a very popular error2 it is not so easy to prepare and apply a coat of paint in a thorough workmanlike manner as some may imagine4 ,it is still less easy to paint in parti colors2 and very few can produce a good piece of graining4 ,the painter should not only be acquainted with the method of applying paint when it is provided for him1 and the brush placed in his hand1 but he should know the composition of the colors2 the manner in which they are made1 and the colors which must harmonize with each other when they are associated together4 ,these observations being of a practical nature and the result of experience1 are commended for his perusal and study4 ,preparation4--,all surfaces painted should be first thoroughly dry and free from dust4 ,all heads of nails should be punched or 8set0 below the surface of the wood1 and after the priming is dry1 the holes formed by the heads1 as well as all cracks1 defects1 etc41 should be filled up with putty made of raw linseed oil and whiting4 ,to prevent knots or 8fat0 spots from showing through1 they should receive two coats of shellac varnish1 and when dry rubbed down with sand-paper4 ,the shellac should be applied with a small brush4 ,it dries soon and may be painted over as soon as dry4 ,shellac prepared this way is called 8knotting10 and can be purchased wherever painters' materials are kept for sale4 ,materials4--,the principal materials used for painting1 i4e41 white lead and oxide of zinc1 are so well known that it is unnecessary to allude particularly to their manufacture at present4 ,before using them they should be mixed with pure raw linseed oil4 ,turpentine may be used in cold weather to make the paint work easy1 as the oil is apt to chill1 which thickens it and makes it difficult to apply4 ,in warm weather1 however1 turpentine should not be used in priming any parts where the sun shines upon4 ,in cold weather it is always necessary to use litharge or some other drier2 or the work will remain a long time before it hardens2 in summer1 however1 driers in most cases are unnecessary1 for if the wood to be painted is as well seasoned as it ought to be there is little danger of the paint being washed off by rain1 as it will mostly be absorbed in the surface4 ,to make satisfactory work it is imperative that all cans1 pots and brushes used in painting be perfectly clean at the start1 and kept so whenever the conditions will permit4 ,a marble slab and muller will be required to grind the finer colors used4 ,sometimes a small cast-iron mill will be found useful not only to grind colors2 but to pass the tinted color through1 so that it may be thoroughly mixed4 ,it is scarcely necessary to say that it is presumed the workman will know what brushes he will require according to the work he has in hand4 ,his large ground paint brush1 called a 8pound-brush20 his half-size1 for smaller work2 his fitch and sash tools1 duster1 pallet1 putty and hasp knives2 oval and flat varnish brushes1 varnish-pot1 step-ladders and long ladders1 mahl-stick1 pallet-board1 gilding-knife1 camel and sable hair-pencils1 whitewash brushes1 jack for window work1 cushion1 tip-pole1 etc41 etc4 ,large brushes1 such as #f-j size1 should be bridled when new by winding good twine around them about one-third up the length of the bristles1 and as the brush wears1 this binding can be unwound4 ,care should be taken to use the brushes so that they will have a flat wedge-shaped point1 straight on the edge4 ,this can be done by holding the brush always in one position4 ,if brushes are turned round and round in the hand while in use1 they wear round and stubby on the point and soon become useless for fine or smooth work4 ,brushes that are in use every day should be placed in water half the depth of the bristles at night1 taking care that brushes containing different colors do not come in contact with one another4 ,if they are to be laid aside for any length of time1 however1 they should be washed with warm water and soap after being thoroughly cleansed with turpentine1 and laid away in a moist place4 ,as a general thing it is better to buy putty already made at a regular paint store1 where you may depend upon its being made of good whiting and linseed oil than to make it4 ,putty should not be used until the work has been primed1 for new paint holds the putty very firmly4 ,white lead is to be judged of by being well ground and possessing the mellowness given to it by age4 ,it is well known amongst painters that the best article is the most economical1 as it works out with more ease1 and repays the difference of cost in its better appearance and extra durability4 ,linseed oil is also better for having due age1 for the same reasons as the white lead1 working with softness and advantage after parting with the water1 which is generally combined with new oil4 ,in most cases driers are added to paints to cause them to dry more quickly1 and a solvent is sometimes required to make the paints work more freely4 ,when the color required differs from that of the main paint used1 the desired tint is obtained by adding a staining or coloring pigment4 ,the materials generally employed may1 for convenience1 be classed as follows3 ,bases4--,white lead1 red lead1 zinc white1 oxide of iron4 ,vehicles4--,oils1 spirits of turpentine4 ,solvents4--,spirits of turpentine4 ,driers4--,litharge1 acetate of lead1 sulphate of zinc and binoxide of manganese1 red lead1 etc4 ,coloring ,pigments4--,ochres1 lampblack1 umber1 sienna1 and many metallic salts that will be hereinafter mentioned4 ,white lead may be obtained either pure or mixed with various substances1 such as sulphate of baryta1 sulphate of lead1 whiting1 chalk1 zinc white1 etc4 ,these substances do not combine with oil as well as does white lead1 nor do they so well protect any surface to which they are applied4 ,sulphate of baryta1 the most common adulterant1 is a dense1 heavy1 white substance1 very like white lead in appearance4 ,it absorbs very little oil1 and may frequently be detected by the gritty feeling it produces when the paint is rubbed between the finger and thumb4 ,white ,lead is sold either dry1 in powder or lump1 or else ground in oil in a paste containing from #g to #i per cent4 of linseed oil1 and more or less adulterated1 unless specially marked 8genuine40 ,when slightly adulterated with a very white sulphate of baryta1 like that of the ,tyrol1 the mixture is considered preferable for certain kinds of work1 as the barytes communicates opacity to the color and protects the lead from being speedily darkened by sulphurous smoke or vapors4 ,white lead improves by keeping1 and when of good quality1 will go much further and last much better than when employed fresh2 moreover1 paint made with new lead has a tendency to become yellow4 ,it should not be exposed to the air or it will turn grey4 ,of all the bases used for paints1 white lead is the most commonly used1 and for surfaces of wood it affords in most cases the best protection1 being dense1 of good body1 and permanent4 ,it has the disadvantage1 however1 of blazening when exposed to sulphur acids1 and of being injurious to those who handle it4 ,red lead is produced by raising massicot 7the commercial name for oxide of lead7 to a high temperature1 short of fusion1 during which it absorbs oxygen from the air and is converted into red lead or minium1 an oxide of lead4 ,the color is lasting1 and is unaffected by light when it is pure and used alone1 but any preparation containing lead or acids mixed with it deprive it of color1 and impure air makes it black4 ,it may be used for a drier1 as it possesses many of the properties of litharge2 it is also often employed in painting wrought iron work1 to which it adheres with a tenacity not equalled by any other paints2 it is sometimes objected to for this purpose1 on the ground that galvanic action is set up between the lead and the iron4 ,it is also frequently used for priming on wood work1 and is especially adapted for hard woods4 ,it is frequently adulterated with brick dust2 this may be detected by heating the powder in a crucible1 and treating it with dilute nitric acid2 the lead will be dissolved but the brick dust will remain4 ,it is also adulterated with colcother1 a sesquioxide of iron4 ,sulphide of antimony1 or antimony vermilion1 is sometimes used as a substitute for red lead4 ,it is sold in a very fine powder1 without taste or smell1 and which is insoluble in water1 alcohol1 or essential oils4 ,it is but little acted upon by acids1 and is said to be unaffected by air or light4 ,it is adapted for mixing with white lead1 and affords an intensely bright color when ground in oil4 ,oxide of zinc1 or zinc white1 is durable in water or oil2 it dissolves in hydrochloric acid2 it does not blacken in the presence of sulphuretted hydrogen2 and it is not injurious to the men who make it1 or to the painters who use it2 but on the other hand1 it does not combine with oil well1 and is wanting in body and covering power1 and is difficult to work4 ,it is easily acted upon by the carbonic acid in rain water1 which dissolves the oxide1 and it therefore is unfit for outside work4 ,the acids contained in unseasoned wood also have a great effect upon it4 ,when pure and used for inside work1 it retains its color well1 and will stand washing for many years without losing any of its freshness4 ,when dry it becomes very hard1 and will take a fine polish4 ,this paint is suitable for any place that is subjected to vapors containing sulphur1 or in places where foul air is emanated from decaying animal matter4 ,in such positions1 of course1 zinc paints should not be mixed with 8patent0 or other driers which contain lead4 ,the best driers to employ with it are sulphate of manganese and sulphate of zinc4 ,this white is recommended as being preferable to white lead for painting on a dark ground4 ,the reason of this is that the soap formed by the combination of the lead and oil in lead paints is semi-transparent1 and the dark ground shows through it4 ,the want of density1 however1 in zinc paints1 is a great drawback to their use1 and the purest zinc oxide is not always the best for paint on account of its low specific gravity2 and in this respect1 the ,american zinc whites1 which are frequently very pure1 do not generally give as good satisfaction as the zinc whites made in ,belgium4 ,vehicles4--,oils are divided into two classes--fixed oils and volatile oils4 ,fixed oils are extracted by pressure from vegetable substances1 they are of a fatty nature1 do not evaporate in drying1 and will bear a temperature short of #ejj ,fahr41 without decomposing4 ,they are subdivided into drying oils1 which become thick upon exposure to air4 ,of these1 linseed oil is most commonly used as an ingredient for paint4 ,its qualities when pure are excellent1 and it may be considered the best of all oils for use in paint1 putty1 and other similar substances4 ,it oxidizes and becomes thick upon exposure to the air4 ,this property is very much increased by adding other substances to it and boiling them together4 ,it is superior in drying powers1 tenacity1 and body to any other fixed oil4 ,the best oil comes from the ,black ,sea and the ,baltic2 that from the ,east ,indian seed is inferior1 as the seed is less carefully cleaned1 and contains too much stearine4 ,raw linseed oil is clear and light in color1 works smoothly1 and is used for internal works1 for delicate tints1 and for grinding up colors4 ,boiled oil is much thicker1 darker1 and more apt to clog4 ,it is used for outside work1 as its greater body and rapidity in drying make it a quicker and more efficient protection4 ,volatile ,oils are generally obtained by distillation1 and have an odor resembling that of the plant from which they are obtained4 ,they are1 as a rule1 colorless at first1 but upon exposure to air and light they become darker1 thicker1 and eventually are converted into a kind of resin4 ,spirits of turpentine is the best variety of this class for mixing with ordinary paints4 ,naptha and benzine are sometimes used instead of turpentine1 but not often1 and their use is not recommended when the latter can be obtained4 ,good spirits of turpentine is lighter in weight and more inflammable than bad4 ,it is colorless and has a pleasant pungent smell1 whereas the smell of inferior qualities is disagreeable4 ,it is used as a solvent for resins and other substances in making varnishes2 also in paint to make it work more smoothly4 ,it is useful also in flatting coats1 but will not stand exposure to the weather4 ,driers4--,driers are substances added to paint in order to cause the oils to thicken and solidify more rapidly4 ,the action of these substances is not thoroughly understood4 ,chevreuil has shown that the drying of linseed oil is caused by the absorption of oxygen2 and there can be no doubt that for the most part driers act as carriers of oxygen to the oil1 a very small quantity producing considerable effects4 ,the best driers are those which contain a large proportion of oxygen1 such as litharge1 acetate of lead1 red lead1 sulphate of zinc1 verdigris1 etc4 ,they are sometimes used to improve the drying qualities of the oil with which the paint is mixed1 or they may themselves be ground up with a small quantity of oil1 and added to the paint just before it is used4 ,litharge or oxide of lead is the drier most commonly used1 and is produced in extracting lead from its ores4 ,it can be produced on a small scale by scraping off the dross which forms on molten lead exposed to a current of air4 ,massicot is a superior kind of litharge1 being produced by heating lead to an extent insufficient to fuse the oxide4 ,sugar of lead1 or1 as it is more frequently called1 acetate of lead1 ground in oil1 and copperas and white vitriol 7sulphate of zinc71 are also used as driers1 especially for light tints4 ,oxide of manganese is quicker in its effects1 but is of a very dark color1 and seldom used except for deep tints4 ,japanners' gold size and verdigris 7acetate of copper7 are also much used for dark colors4 ,care must be taken not to apply too much of the size1 or it will make the paint brittle4 ,red lead 7oxide of lead7 is often used as a drier when its color will not interfere with the tint required4 ,it is not so rapid in its action as litharge or massicot4 ,sulphate of manganese is the best drier for zinc white1 about #f or #h ounces only being used for #ajj lbs41 of ground zinc white paint4 ,the manganese should be mixed with a small quantity of the paint first1 and then added to the bulk4 ,if great care be not taken in mixing the drier the work will be spotted4 ,sulphate of zinc is also a good drier for zinc paint4 ,patent driers contain oxidizing agents1 such as litharge or acetate of lead ground and mixed in oil1 and therefore in a convenient form for immediate use4 ,there is great danger1 however1 in using such driers1 unless they are of the best quality from a reliable maker4 ,some of the inferior descriptions depend for their drying qualities upon lime4 ,the following points should be observed in using driers3-- #ast4 ,not to use them unnecessarily with pigments which dry well in oil color4 #b;d4 ,not to employ them in excess1 which would only retard the drying4 #c;d4 ,not to add them to the color until about to be used4 #dth4 ,not to use more than one drier to the same color4 #eth4 ,to avoid the use of patent driers1 unless known to be of good quality4 #fth4 ,to avoid the use of driers in the finishing coat of light colors1 as they are liable to injure the color4 ,coloring ,pigments4--,it will be impossible in a small work of this sort to give anything like a complete list of the pigments used to produce the colors and tints used by the house painter and decorator4 ,a few of the most useful may1 however1 be mentioned4 ,it is not proposed to give a detailed description of them1 but merely to distinguish those that are injurious from the others4 ,many of these1 such as the ochres1 umbers1 etc41 are from natural earths2 others are artificially made4 ,they may generally be purchased either in the form of dry powder or ground in oil4 ,blacks4--,lampblack is the soot produced by burning oil1 resin1 small coal1 resinous woods1 coal tar or tallow4 ,it is in the state of very fine powder2 works smoothly2 is of a dense black color and durable1 but dries very slowly in oil4 ,vegetable black is a better kind of lampblack made from oil4 ,it is very light1 free from grit1 and of a good color4 ,it should be used with boiled oil1 driers1 and a little varnish4 ,raw linseed oil or spirits of turpentine keeps it from drying4 ,ivory-black is obtained by calcining waste ivory in close vessels and then grinding4 ,it is intensely black when properly burned4 ,bone-black is inferior to ivory-black1 and prepared in a similar manner from bones4 ,blue-black and ,frankfort black of the best quality are made from vine twigs2 inferior qualities from other woods charred and reduced to powder4 ,in ,europe some other blacks are used1 but we seldom meet with them in this country4 ,blues4--,prussian blue is made by mixing prussiate of potash with a salt of iron4 ,the prussiate of potash is obtained by calcining and digesting old leather1 blood1 hoofs1 or other animal matter with carbonate of potash and iron filings4 ,this color is much used1 especially for dark blues1 making purples1 and intensifying black4 ,it dries well with oil4 ,slight differences in the manufacture cause considerable variation in tint and color1 which leads to the material being known by different names--such as ,antwerp blue1 ,berlin blue1 ,hrlem blue1 ,chinese blue1 etc4 ,indigo is produced by steeping certain plants in water1 and allowing them to ferment4 ,it is a transparent color2 works well in oil or water1 but is not durable1 especially when mixed with white lead4 ,ultramarine was originally made by grinding the valuable mineral ,lapis lazuli4 ,genuine ultramarine so made is very expensive1 but artificial ,french and ,german ultramarines are made of better color1 and cheaply1 by fusing and washing and reheating a mixture of soda1 silica1 alum1 and sulphur4 ,this blue is chiefly used for coloring wall papers4 ,cobalt blue is an oxide of cobalt made by roasting cobalt ore4 ,it makes a beautiful color1 and works well in water or oil4 ,smalt1 ,saxon blue and ,royal blue are colored by oxides of cobalt4 ,there are a few other blues1 such as ,celestial or ,brunswick blue1 damp blue and verditer1 that are chemical compounds1 compounds of alum1 copper1 lime1 and other substances2 but they are so seldom used in this country that it is unnecessary to describe them in detail4 ,yellows4--,chrome yellows are chromates of lead1 produced by mixing dilute solutions of acetate or nitrate of lead and bichromate of potash4 ,this makes a medium tint known as 8middle chrome40 ,the addition of sulphate of lead makes this paler1 when it is known as 8lemon chrome10 whereas the addition of caustic lime makes it 8orange chrome0 of a darker color4 ,the chromes mix well with oil and with white lead either in oil or water4 ,they stand the sun well1 but like other lead salts1 become dark in bad air4 ,chrome yellow is frequently adulterated with gypsum4 ,naples yellow is a salt of lead and antimony1 supposed to have been originally made from a natural volcanic product at ,naples4 ,it is not so brilliant as chrome1 but has the same characteristics4 ,king's yellow is made from arsenic1 and is therefore a dangerous color to handle1 or use for internal work4 ,it is not durable1 and it injures several other colors when mixed with them4 ,chinese yellow1 arsenic yellow1 and yellow orpiment are other names for this yellow4 ,yellow ochre is a natural clay colored by oxide of iron1 and found abundantly in many parts of the world4 ,it is not very brilliant1 but is well suited for distemper work1 as it is not affected by light or air4 ,it does not lose its color when mixed with lime washes as many other colors do4 ,there are several varieties of ochres1 all having the same characteristics differing only in color which varies from a golden to a dark brown4 ,terra ,de ,sienna1 or raw ,sienna1 is a clay1 stained with oxides of iron and manganese1 and of a dull yellow color4 ,it is durable both in oil and water1 and is useful in all work1 especially in graining4 ,browns4--,browns generally owe their color to oxide of iron4 ,raw umber is a clay similar to ochre colored by oxide of iron4 ,the best comes from ,turkey2 it is very durable both in water and in oil2 does not injure other colors when mixed with them4 ,burnt ,umber is the last mentioned material burnt to give it a darker color4 ,it is useful as a drier1 and in mixing with white lead to make a stone color4 ,vandyke ,brown4--,this color is an earthy dark brown mineral2 it is durable both in oil and water1 and is frequently employed in graining4 ,purple ,brown is of a reddish-brown color4 ,it should be used with boiled oil--and a little varnish and driers for outside work4 ,burnt ,sienna is produced by burning raw sienna4 ,it is the best color for shading gold4 ,brown ,pink is a vegetable color often of a greenish hue4 ,it works well in water and oil1 but dries badly1 and will not keep its color when mixed with white lead4 ,spanish brown and brown ochre are clays colored naturally by various oxides4 ,reds4--,carmine1 made from the cochineal insect1 is the most brilliant red color known4 ,it is1 however1 too expensive for ordinary house painting1 and is not durable4 ,it is sometimes used for inside decoration4 ,red ,lead4--,this color has already been described on page #aa4 ,vermilion4--,this is a sulphide of mercury in a natural state as cinnabar4 ,the best comes from ,china4 ,artificial vermilion is also made both in ,china and in this country from a mixture of sulphur and mercury4 ,genuine vermilion is very durable1 but when mixed with red lead1 as it is sometimes1 it will not stand the weather4 ,it can be tested by heating in a test tube2 if genuine it will entirely volatilize4 ,german vermilion is the tersulphide of antimony1 and is of an orange-red color4 ,indian ,red4--,this color is a ground hematite ore brought from ,bengal2 it is sometimes made artificially by calcining sulphate of iron4 ,the tints vary1 but a rosy hue is considered the best4 ,it may be used with turpentine and a little varnish to produce a dull surface1 drying rapidly1 or with boiled oil and a little driers1 in which case a glossy surface will be produced1 drying more slowly4 ,chinese ,red and ,persian red are chromates of lead1 produced by boiling white lead with a solution of bichromate of potash4 ,the tint of ,persian red is obtained by the employment of sulphuric acid4 ,venetian ,red is obtained by heating sulphate of iron produced as a waste product at tin and copper works4 ,it is often adulterated by mixing sulphate of lime with it during the manufacture4 ,when pure1 it is often called 8bright red40 ,special tints of purple and brown are frequently required1 which greatly enhance the value of the material4 ,these tints should be obtained in the process of manufacture1 and not produced by mixing together a variety of different shades of color4 ,when the tint desired is attempted to be obtained by this latter course it is never so good1 and the materials produced are known in the trade as #8faced colors1' and are of inferior value4 ,rose ,pink4--,this is made of a sort of chalk or whiting stained with a tincture of ,brazil wood4 ,it fades very quickly1 but it is used for paperhangings1 common distemper1 and for staining cheap furniture4 ,lakes4--,these are made by precipitating colored vegetable tinctures by means of alum and carbonate of potash4 ,the alumina combines with the organic coloring matter and separates it from the solution4 ,the tincture used varies in the different descriptions of lake4 ,the best1 made from cochineal or madder1 is used for internal work4 ,drop lake is made by dropping a mixture of ,brazil wood through a funnel on to a slab4 ,the drops are dried and mixed into a paste with gum water4 ,it is sometimes called 8,brazil wood lake40 ,scarlet lake is made from cochineal2 so also are ,florentine lake1 ,hamburg lake1 ,chinese lake1 ,roman lake1 ,venetian lake and ,carminated lake4 ,orange4--,chrome orange is a chromate of lead1 brighter than vermillion1 but less durable4 ,orange ochre is a bright yellow ochre burnt to give it warmth of tint2 it dries and works well in water or oil1 and is very durable4 ,it is known also as ,spanish ochre4 ,orange red is produced by a further oxidation than is required for red lead4 ,it is a brighter and better color4 ,greens4--,these1 of course1 may be made by mixing blue and yellow together1 but such mixtures are less durable than those produced direct from copper1 arsenic1 etc4 ,the latter are1 however1 objectionable for use in distemper or on wall papers1 as they are very injurious to health4 ,brunswick green of the best kind is made by treating copper with sal-ammoniac4 ,chalk1 lead and alum are sometimes added4 ,it has rather a bluish tinge2 dries well in oil1 is durable1 and not poisonous4 ,common ,brunswick green is made by mixing chromate of lead and ,prussian blue with sulphate of baryta4 ,it is not as durable as real ,brunswick green4 ,mineral green is made from bi-basic carbonate of copper2 it weathers well4 ,verdigris is acetate of copper4 ,it furnishes a bluish-green color1 durable in oil or varnish1 but not in water2 it dries rapidly1 but requires great care in using owing to its poisonous qualities4 ,green verditer is a carbonate of copper and lime2 is not very durable4 ,prussian green is made by mixing different substances with ,prussian blue4 ,there are a number of other greens made from copper1 but they all possess in a greater or lesser degree1 the same qualities as the foregoing4 ,emerald or ,paris green is made of verdigris mixed with a solution of arsenious acid4 ,it is of a very brilliant color1 but is very poisonous2 is difficult to grind1 and dries badly in oil4 ,it should be purchased ready ground in oil1 as in that case the poisonous particles do not fly about1 and the difficulty of grinding is avoided4 ,scheele's green and ,vienna green are also arseniates of copper1 and highly poisonous4 ,chrome green should be made from the oxide of chromium1 and is very durable4 ,an inferior chrome green is made1 however1 by mixing chromate of lead and ,prussian blue1 as above mentioned1 and is called ,brunswick green4 ,the chrome should be free from acid or the color will fade2 it may be tested by placing it for several days in strong sunlight4 ,proportions of ,ingredients in ,mixed ,paint4--,the composition of paints should be governed by the nature of the material to be painted4 ,thus the paints respectively best adapted for painting wood and iron differ considerably4 ,the kind of surface to be covered1 i4 e41 a porous surface requires more oil than one that is impervious4 ,the nature and appearance of the work to be done4 ,delicate tints require colorless oil2 a flatted surface must be painted without oil1 which gives gloss to a shining surface4 ,again1 paint used for surfaces intended to be varnished must contain a minimum of oil4 ,the climate and the degree of exposure to which the work will be subjected2 thus1 for outside work boiled oil is used1 because it weathers better than raw oil4 ,turps is avoided as much as possible1 because it evaporates and does not last2 if1 however1 the work is to be exposed to the sun1 turps are necessary to prevent the paint from blistering4 ,the skill of the painter also affects the composition2 a good workman can lay on even coats with a smaller quantity of oil and turps than a man who is unskilful2 extra turps1 especially1 are often added to save labor4 ,the quality of the materials makes an important difference in the proportions used4 ,thus more oil and turps will combine with pure than with impure white lead2 thick oil must be used in greater quantity than thin oil4 ,when paint is purchased ready ground in oil1 a soft paste will require less turps and oil for thinning than a thick paste4 ,lastly1 the different coats of paint vary in their composition2 the first coat laid on to new work requires a good deal of oil to soak into the material2 on old work the first coat requires turpentine to make it adhere2 the intermediate coats contain a proportion of turpentine to make them work smoothly1 and to the final coats the coloring materials are added1 the remainder of the ingredients being varied as already described1 according as the surface is to be glossy or flatted4 ,the exact proportion of the ingredients best to be used in mixing paints varies according to their quality1 the nature of the work required1 the climate1 and other considerations4 ,the composition of the paint for the different coats also varies considerably4 ,the proportions given in the following table1 must1 therefore1 only be taken as an approximate guide when the materials are of good quality4 ,table showing the composition of the different coats of white paint1 and the quantities required to cover #ajj yards of newly worked pine4 ---------------------------------------- ------------------------ ,,red ,,white ,,raw ,,boiled ,,turpe- ,,driers4 ,,lead4 ,,lead4 ,,linseed ,,linseed ,,ntine4 ,,oil4 ,,oil4 ---------------------------------------- ------------------------ ,inside work1 #d coats lbs4 lbs4 pts4 lbs4 not flatted4 ,priming9999 #af #f -- -- #b;d ,coat 99 #ae #c -- #a #c;d ,coat -- #ac #b -- #a #dth ,coat -- #ac #b -- #a ,inside work1 #d coats and flatting4 ,priming #a #af #f -- #a-h #b;d ,coat -- #ab #d -- #a #a-aj #c;d ,coat -- #ab #d -- #j #a-aj #dth ,coat -- #ab #d -- #j #a-aj ,flatting -- #i #j -- #c #a-aj ,outside work1 #d coats not flatted4 ,priming999999 #b #ah #b #b -- #a-h #b;d ,coat -- #ae #b #b #a-aj #c;d ,coat -- #ae #b #b #a-aj #dth ,coat -- #ae #c #b #j #a-aj ---------------------------------------- ------------------------ 99 ,sometimes just enough red lead is used to give a flesh-colored tint4 9999 ,sometimes more red lead is used and less drier4 999999 ,when the finished color is not to be pure white1 it is better to have nearly all the oil boiled oil4 ,all boiled oil does not work well4 ,for pure white a larger proportion of raw oil is necessary1 because boiled oil is too dark4 ,for every #ajj square yards1 besides the materials enumerated in the foregoing1 #b lbs4 of white lead and #e lbs4 of putty will be required for stopping4 ,the area which a given quantity of paint will cover depends upon the nature of the surface to which it is applied1 the proportion of the ingredients and the state of the weather4 ,when the work is required to dry quickly1 more turpentine is added to all the coats4 ,in repainting old work1 two coats are generally required1 the old painting being considered as priming4 ,sometimes another coat may be deemed necessary4 ,for outside old work exposed to the sun1 both coats should contain one pint of turpentine and four pints of boiled oil1 the remaining ingredients being as stated in the foregoing table4 ,the extra turpentine is used to prevent blistering4 ,in cold weather more turpentine should be used to make the paint flow freely4 ,operations4--,all priming should be rubbed out as far as possible1 for if it is flowed out loosely or laid on thick it will be apt to blister and run4 ,in priming over spots1 however1 where patching is being done1 it may sometimes be necessary to leave the coat thick or heavy1 for new work can never be re-touched and look well1 after the work is second coated or finished2 for such re-touching would show and spoil the whole work4 ,in priming the paint should flow easily1 and the brush should be pressed on to the wood so that the paint will be forced into the pores4 ,in all cases it is a great saving of time to cover as large a surface as convenient before smoothing or finishing off4 ,all work on the same surface should be finished at the one application1 if possible1 for 8laps0--which form the junctions of work done at different times--should be avoided wherever they can1 as they are sure to disfigure the work where they exist4 ,of course1 it is sometimes impossible to avoid laps1 but where they must occur1 care should be taken to make the connection with as little 8lap0 as possible or it will be certain to show through the work when finished4 ,the defect1 if occurring during the second coating1 will show much worse than in the priming coat4 ,in painting1 like everything else1 a system must be followed to make much headway4 ,experience1 perhaps1 is the only effective teacher in this matter2 and any rules laid down by us will have but little effect1 if the operator does not1 or can not systematize4 ,the workman who follows a system will do nearly twice as much work with less labor1 than the man who works only by the rule of thumb4 ,in painting blinds1 lattices1 railings1 cut brackets or other similar work1 some method of operation should be adopted4 ,a little observation on the part of the operator1 will soon teach him the best methods to adopt in doing any particular kind of work4 ,preparing the ,work4--,in preparing work for painting1 too much care cannot be exercised1 as succeeding coats and the final result depend very much on the proper condition of the work when the priming coat is applied4 ,first1 all the rough places in the wood should be rubbed down with a block covered with sandpaper2 and the mouldings and beads should be well cleaned out with sandpaper4 ,then 7and this is a matter of prime importance7 every knot1 however small1 every indication of sap on the wood1 or discoloration of any kind1 and every appearance of pitch or gum1 should be carefully varnished over with white shellac varnish1 if the work is to be finished in white or light tints--or with varnish made from unbleached or common shellac1 if the work is to be finished in dark shades4 ,the common shellac1 in the latter case1 answers equally well with the bleached article1 and at less cost4 ,this should not1 under any circumstances1 be neglected1 as it is impossible1 in the nature of things1 otherwise to make good work4 ,when work is to be finished with two coats1 the putty used for stopping the nail-heads and other indentations should be made of white lead1 worked up with common whiting to the proper consistency1 and the filling should be done after the first coat shall have become well dried4 ,when more than two coats are to be applied1 the filling should be done between the first and second coats1 with ordinary pure linseed-oil putty4 ,it should be adopted as a rule1 never to apply pure white as a priming coat2 no matter whether the work is to be finished with one or four coats1 the result will always be more satisfactory if the first coat be stained4 ,a little finely-ground lampblack answers as well for this as anything4 ,the only way to produce solid1 uniform work1 is by making every succeeding coat lighter in tint than the one which preceded it4 ,this is especially the case with walls1 and other extended flat surfaces4 ,no matter what the finish is to be1 the first coat should always be darker than the one which succeeds it2 and the darker the shade of the finishing coat1 the more important it is that this rule should be observed4 ,if the work is to be finished with black1 prime with black4 ,if with green1 let that be the color of all the preceding coats4 ,if with blue1 let that color be the ground work4 ,what can be more stupid than applying to work which is to be finished in imitation of black walnut a priming coat of white8 ,all work should be primed especially with regard to the finishing color4 ,there is not half enough of dark colors used in priming applications4 ,venetian red1 finely ground in boiled oil1 deeply stained with black--and used very thin1 in order to stain the wood as much as possible--is the best first coat for work which is to be finished in imitation of black walnut or other dark wood4 ,the succeeding coats should be as dark as may be with a view to the proper shade of ground-work for the graining4 ,in such case1 if 7as must happen in the ordinary course of events7 the work becomes bruised or 8chipped0--by an accidental knock from a chair leg or other article of house furniture--the general appearance of it is little impaired thereby4 ,quite the contrary1 however1 is the case if the underneath coats are white4 ,then1 an accident of the kind before mentioned1 shows a white spot1 which staringly proclaims the work to be a delusion and a sham4 ,dark colors1 too1 as the ,venetian red before mentioned1 make better foundations than white lead or zinc4 ,they dry harder and 8rub0 better1 and1 what is most important1 cost less4 ,this matter having been duly considered1 let us now proceed to the coats succeeding the first4 ,before applying a second coat1 the first should be carefully rubbed1 and all the nail-heads and other indentations carefully stopped with pure linseed-oil putty--using for flat surfaces a square-bladed putty-knife4 ,puttying with the fingers should never be tolerated 7good work is now the subject under consideration74 ,this done1 the whole should be carefully examined to ascertain if the oil in the former coat shall have revealed any resinous or pitchy spots1 not previously covered with the shellac4 ,these preliminaries being attended to1 the work may be considered ready for a second coat4 ,the directions as to rubbing with sandpaper are to be observed in all the succeeding coats4 ,as a rule1 on interior work1 paint should never be applied to a surface which has not been previously rubbed4 ,sandpaper for fresh work and pumice-stone for old work4 ,always distrust the education of a painter in his trade who goes to work without a lump of pumice-stone1 a sheet of sandpaper1 a putty-knife1 and a rag to wipe off the spatters--sparks1 as the ,irish not inaptly call them4 ,apropos of spatters6 ,every painter has seen 7the result too of unpardonable negligence7 plates of glass so covered with spatters1 that to remove them would require more time than would serve to paint the woodwork of a 8full-trimmed0 window4 ,in priming work which is to be finished in oak1 finely-ground ,french ochre is recommended4 ,the objection to this pigment1 that it does not work smoothly and easily under the brush1 has arisen from its coarseness4 ,finely ground in boiled oil1 it works as smoothly as white lead1 and makes an excellent foundation for the succeeding coats4 ,for walls the first coat should be as dark in shade and as thin as practicable1 the object being to stain the plaster as much as possible4 ,indeed1 if the whole mass of plaster could be stained through and through1 it would be desirable to so stain it4 ,the use of glue in wall painting is of doubtful propriety4 ,it should never1 under any circumstance1 be put on until after the second coat1 and then rubbed on with a rag1 very lightly4 ,in first-class work1 however1 its use is not recommended4 ,plaster mixed with weak glue-size--which prevents its setting too rapidly--is the best material for stopping walls preparatory to painting1 and each coat of paint should be carefully rubbed with worn sand-paper1 before the succeeding coat is put on4 ,for preparing walls a small pocket-trowel will be found a most serviceable tool1 or a trowel-shaped putty-knife1 which article has come into general use4 ,the preparation of ceilings for whitewashing 7or kalsomining as this operation is sometimes pretentiously called7 is an operation requiring some skill and knowledge of 8how to do it40 ,a dirty ceiling1 which has been subjected to successive coats of whitewash1 whether of lime1 or of whiting and glue-size1 cannot be made solidly and smoothly white by additional whitewashing4 ,the mass has become spongy1 and sucks up the water so quickly that the material cannot be evenly distributed4 ,in such case the only way is to begin anew1 to go at once 8down to hard pan0 by removing all the previous applications by washing and scraping4 ,this is best effected with a broad-bladed square-pointed putty-knife1 keeping the ceiling wet meanwhile4 ,plaster 7hard-finish7 is not of uniform density1 and some spots are much more absorbent than others4 ,to remedy this a mixture of soft soap and alum1 dissolved in water1 should be applied with a broad kalsomine brush4 ,it is not assumed that mere verbal instructions can teach the art of whitening or tinting walls and ceilings in water-colors4 ,to produce good results1 great skill in preparing the materials and dexterity in manipulation are required2 and such work should be intrusted only to competent hands4 ,a mass of unsuitable material may be cheaply put upon a ceiling2 but when the same shall require repainting1 the cost of labor will be greater in removing the previous coating1 than will be the whole cost of repainting4 ,these remarks1 too1 apply equally to all kinds of painting2 and reference is made to the whitening and tinting of ceilings only1 because of the general impression that this kind of work may be performed by anybody4 ,the materials and tools used in painting are too costly to wasted and worn by incompetent handling4 8,painting just to keep the gardener or hostler out of idleness10 will prove in most cases a left-handed economy4 ,such experiments are prudent only when the services of skilled workman cannot be obtained4 ,taste in ,color4--,in rooms to be lived in1 simple white for color of walls and paint1 as well as any extremely dark treatment1 should be avoided4 ,the walls of rooms should be such backgrounds as will best suit the complexions and dresses of the larger number of people4 ,delicate white intensifies by contrast any unpleasantness or want of perfection2 extreme dark would make people look white and ghastly4 ,neutral colors will be found the best--generally some grey or cool color that will contrast with warmth of complexions4 ,on no account let an absolutely pure color be used for general surfaces4 ,nature provides no such color in pigments4 ,her yellows are greenish or reddish1 and so on4 ,nor does she use it to any extent in inanimate nature4 ,so much so that you will find that if you have much difficulty in describing a color1 you may be certain it is good2 the more difficulty the more beauty4 ,nature trusts mainly to gradations of tone1 using vivid color in small quantities only1 as in the touches on bright flowers and butterflies4 ,this teaching of nature will be found seconded in the pictures of the greatest artists1 and in following such teaching1 it is necessary to consider the object to which 7in domestic work1 say7 the rooms are to be devoted4 ,a drawing-room1 it is agreed1 should be light1 festive and gay2 dining-room at once more sober1 and with more depth and warmth1 as befits its uses4 ,you must also consider the light and shade2 openings1 and the positions of them2 for these may 7or may not7 effect for you contrast of tone1 and may even touch the question of the good sense of your whole scheme of decoration4 ,in a lecture delivered before the ,british ,architectural ,association1 on this subject1 the lecturer suggested that in the treatment of a drawing-room the walls should be a light neutral grey1 fawn color1 or pale green 7not dark1 but not white74 ,dados are suitable for all rooms1 even drawing-rooms4 ,they may be made of wood1 painted as the room doors1 or of stamped leather1 or of the ,french paper imitations of stamped leather4 ,a frieze does not interfere with the heads of sitters1 and adds much interest if it has its sentiment or story4 ,if flowers form part of your decorations1 have no relief1 no imitation of nature's light and shade4 ,a wall must be a wall2 if1 neglecting this1 you introduce illusions to the eye1 the sense of solidity will not be suggested4 ,the ,japanese decorate on correct principles1 with truth to the idea derived from nature1 and truth in art1 adaptation of representation to materials and method4 ,as regards the woodwork there should be no graining anywhere2 its aspect1 however well executed1 is repulsive4 ,real woods are always beautiful4 ,plain painting may be darker or lighter than the general wall surfaces2 both will look well4 ,the doors may have stencilled decorations in angles of panels2 birds or butterflies1 or plants1 or any beautiful natural objects will supply motives4 ,the ceilings should rarely be wholly white1 except of halls or where the light is defective4 ,papered ceilings look well4 ,the use of gold is generally satisfactory2 it reflects a warm tone on everything below4 ,put a good amount of color on a ceiling--not1 however1 making it so dark as to bring it too close to the eye4 ,the carpet must be either lighter or darker than the walls4 ,this is following out the artist's rule1 to make either background or foreground run into the figure4 ,if this is not done in painting1 a woman in white satin1 for instance1 against a dark floor and dark walls1 will look like a cut-out figure stuck on1 and the same sort of result would occur in rooms4 ,as in ordinary life dresses are dark in color1 where a light wall tone has been recommended1 the carpet will have to be darker than the walls4 ,not too vivid in color1 however1 and of course1 no flowers1 ferns1 birds' nests1 and such like fearful things4 ,furniture and hangings should not be too much alike in color2 have1 say1 the carpet one tone1 the coverings of the furniture another1 and the curtains and other hangings a third4 ,have summer and winter hangings and furniture coverings2 those for the former light and cheerful1 the others with more warmth1 and suggestive of comfort and home life4 ,a table-cloth1 occasional chair1 or a rug1 may supply a bit of effective contrast with prevailing hues of hangings1 etc41 and a spot of vivid color in a vase or some small hanging will complete the formal decoration of the room4 ,graining4--,the art of imitating the grain of the more expensive woods has been brought to a great degree of perfection1 but of late years so many unskilled workmen have undertaken to imitate the natural grain of wood with such imperfect results1 that this beautiful branch of painting has fallen into partial disuse4 ,a few remarks1 therefore1 to the uninitiated may not be inappropriate in this work4 ,mahogany1 satinwood1 rosewood1 mottled and walnut roots1 maple1 and some others1 are frequently imitated2 and it is seldom that a house is finished without some graining being introduced4 ,the imitation of the above-mentioned woods are best performed in ground distemper 7water colors7 which are always preferable and more economical purchased ready prepared4 ,oak1 chestnut1 ash and similar long-grained woods1 are best executed in oil-color1 particularly for outdoor work4 ,for drawing rooms1 delicate party colors are preferable1 as they harmonize better with the neutral tints on the walls or delicate tinted papers4 ,the process of graining is very simple4 ,to be an accomplished grainer1 practice and an artistic taste is very necessary4 ,too frequently the imitation is overdone1 the shading too deep and obtrusive1 and the work made too glaring with figure and varnish1 has an unnatural appearance2 a grainer should always avoid attempting to over-do nature4 ,the following is an approved method3--,the surface on new wood should be prepared with three coats of oil paints for the ground color1 and regulated in shade by the color of the wood to be imitated1 making due allowance for the graining tint that is to cover it4 ,the ground colors should always be perfectly dry before the graining is commenced4 ,the painter then preparing small quantities of the colors he requires1 applies it thinly and evenly over the surface and proceeds to wipe out with his thumb and a piece of white cotton cloth the figure of the grain4 ,some grainers use rubber instead4 ,we cannot here explain all the different processes for the imitation of the grain of wood4 ,many painters have a method of their own1 which from long practice produce excellent results4 ,in some cases1 graining in distemper may be adopted with great success for indoor work1 and if the colors are put on thin1 so that the varnish will penetrate through into the ground color1 this kind of graining is as durable as oil-color1 and is susceptible of being made far more beautiful1 and soft looking in the imitation of mottled woods4 ,for blending distemper colors1 a badger's hair blender should be frequently used to soften down and blend the tints where necessary2 but for blending oil-color1 in order to produce an elongation of the grain1 we have found a flat varnish brush1 kept moderately damp and clean1 preferable to the badger's hair4 ,when the work is dry1 the shades necessary for some woods should be laid on in distemper-color 7some use thin oil-colors7 and then covered with two coats of good oil varnish4 ,common varnish should never be used on outside work4 ,oak ,graining4--,in oak graining the color is made in the following manner3--,procure some finely-ground burnt umber and raw sienna 7or ,vandyke brown and raw sienna if a dark oak be required71 and thin with equal parts of linseed oil and turpentine4 ,add a large quantity of patent dryer to make it stand the comb4 ,the color is now ready for use4 ,the graining color is brushed over the work in the ordinary way with a pound brush1 care being taken not to put too much color on1 else it is liable to look dirty4 ,a dry dusting brush is now used to stipple with1 which1 if properly done1 will distribute the color evenly4 ,it is now ready for combing4 ,first take a medium or coarse-cut gutta-percha comb1 and draw it down one side of the panel1 then use a finer one to complete it4 ,this comb will leave the marks of the grain in clear unbroken lines from top to bottom of the panel4 ,we now take a fine steel comb and go over the whole of the previous combing2 but in drawing this comb down1 we either move it in a slanting or diagonal direction across the previous combing1 or draw it down with a quick and short wavy motion and curl4 ,both the former and latter motions will break up the long lines left by the gutta-percha comb into short bits1 which1 of course1 represent the pores or grains of the real wood4 ,next take out the lights of figuring or veining4 ,this is effected by means of a piece of washleather1 held tightly over the thumb nail4 ,every time a few lights are wiped out the leather should be moved slightly1 so that the same part of the leather will not be used twice1 thus ensuring clean work4 ,there are various methods of doing this1 but they require much more practice4 ,when the figures are all wiped out they will require to be softened4 ,by softening we mean the imitation of those half shades seen upon and about the figures in the real wood4 ,these are imitated by doubling a piece of washleather into a small roll1 and with the side of this the grain is partly wiped away or softened4 ,care should be taken not to wipe off the whole of the grain4 ,if the operator has a piece of the real wood to look at occasionally he will be materially assisted4 ,as soon as the oil color is dry it should be over-grained4 ,this is effected in water color4 ,next go over the work with a bit of sponge and soap to prevent it 8cissing40 ,before laying on the over-graining1 wash out the sponge and wipe the work4 ,it is now ready to receive the color4 ,grind up finely a little vandyke brown in water1 and dilute it with table-beer and water4 ,it is then ready4 ,take a flat hog-hair brush1 #c in4 to #d in4 wide1 dip it in the color and draw it over the work1 in most cases in the direction of the combing1 but occasionally crossing4 ,the hair of the brush1 being thinly placed1 will separate into patches1 and hence the color will be deposited in streaks1 resembling the natural gradations which the wood presents4 ,if you have not a brush of this kind a sponge may be used to put in the streak and to soften off4 ,then dry varnish in the usual way4 ,spirit ,graining for ,oak4--#b lbs4 whiting1 lb4 gold size1 thinned down with spirits of turpentine1 then tinge your whiting with vandyke brown and raw sienna ground fine4 ,strike out your light with a pitch or piece of rubber dipped in turpentine1 tinged with a little color to show the lights4 ,if your lights do not appear clear1 add a little more turpentine4 ,turpentine varnish is a good substitute for the above mentioned4 ,this kind of graining must be brushed over with beer with a clean brush before varnishing4 ,strong beer must be used for glazing up top graining and shading4 ,old ,oak in ,distemper4--,to make an exceedingly rich color for the imitation of old oak1 the ground is a composition of stone ochre or orange chrome and burnt sienna2 the graining is burnt umber or vandyke brown1 to darken it a little4 ,the above colors may be used for oil as well4 ,pollard ,oak4--,ground color1 a mixture of chrome yellow1 vermilion and white lead1 to bring it to a rich light buff4 ,the graining colors are vandyke brown and small portions of raw and burnt sienna and lake1 ground in beer or vinegar4 ,fill a large brush with color and spread it over the surface to be grained1 and soften with a badger hair brush4 ,take a moistened sponge and dapple round and round in kind of knobs1 then soften very lightly1 after which draw a softener from one set of knobs to the other while wet1 to form a multiplicity of grain1 and finish the knobs with a hair pencil1 in some places in thicker clusters than others4 ,when dry1 put the top grain on in a variety of directions1 and varnish with turpentine and gold size2 then glaze up with vandyke and strong beer4 ,finish with copal varnish4 ,this is for distemper only4 ,mottled ,mahogany4--,the ground is prepared with the best ,venetian red1 red lead1 and a small proportion of white lead4 ,the graining colors are burnt sienna1 ground in beer1 with a small portion of vandyke brown4 ,cover the surface to be grained1 soften with a badger hair brush1 and while wet take a damp sponge and go over the lights a second time1 in order to give a variety of shade2 then blend the whole of the work with the badger softener4 ,put the top grain on with the same color4 ,when dry1 varnish4 ,for distemper only4 ,rosewood4--,mix vermilion and a small quantity of white lead for the ground4 ,take rose-pink1 tinged with a little lamp-black or vandyke brown1 and grind very fine in oil1 then take a flat graining brush1 with the hairs cut away at unequal distances1 and cut down the grain as if wending round a knob4 ,when nearly dry1 take a graining comb that is used for oak1 and draw down the grain4 ,this will give it the appearance of nature4 ,then varnish4 ,this makes an excellent and durable imitation4 ,another for ,rosewood4--,this ground is prepared with vermilion and small quantities of white lead and crimson lake4 ,when the ground is dry1 and made very smooth1 take vandyke brown1 ground in oil1 and with a very soft tool spread the color over the surface in different directions1 forming a kind of knots4 ,before the work is dry take a piece of leather1 and with great freedom strike out the light veins2 having previously prepared the darkest tint of vandyke brown or gum asphaltum1 immediately take the flat graining brush with few hairs in it1 called a top grainer1 and draw the grain over the work and soften4 ,when varnished1 the imitation will be excellent4 ,curled ,maple in ,oil4--,prepare a rich ground by mixing chrome yellow1 white lead and burnt sienna4 ,for the graining color1 grind equal parts of raw sienna and umber with a little burnt copperas and turpentine1 and mix it with a small quantity of grainer's cream1 thin the color with oil2 then fill a tool and spread the surface even and rub out the lights with sharp edge of a piece of buff leather1 wiping it frequently to keep it clean2 soften the edges of the work very lightly1 and when dry1 put on the top grain with burnt umber and raw sienna ground in beer with the white of an egg beat into it4 ,varnish4 ,curled ,maple in ,distemper4--,prepare a light yellow for the ground1 by mixing chrome yellow and white lead1 tinged with ,venetian red4 ,the graining color is a mixture of equal portions of raw sienna and vandyke brown1 ground in beer4 ,spread the surface to be grained in an even manner2 then with a piece of cork rub across the work to and fro1 to form the grains which run across the wood2 soften1 and when dry lightly top grain with the same color4 ,varnish4 ,bird's ,eye ,maple in ,oil4--,the ground is a light buff1 prepared with white lead1 chrome yellow and a little vermilion or ,english ,venetian1 to take off the rawness of the yellow4 ,the graining color is equal parts of raw umber and sienna1 ground in oil to the proper consistency4 ,spread the surface of the work with this color1 and having some of the same prepared a little thicker1 immediately take a sash tool or sponge and put on the dark shades1 and soften with a badger hair brush2 before the color is dry put on the eyes by dabbing the dotting machine on the work1 or by striking the colors short and sharp with the tips of the fingers1 then blend slightly the eyes in one direction only4 ,when dry1 put on the grain with the camels hair pencil on the prominent parts to imitate the small hearts of the wood4 ,the same graining colors to be ground in here for distemper4 ,walnut in ,oil4--,the ground is formed with ochre1 ,indian red1 umber1 and white4 ,the graining coat is similar to that described under the oak heading1 and is prepared with vandyke brown2 and for the darker shades1 fine ivory-black2 the wiping out and blending to resemble that in mahogany2 the fine dark veins of ivory-black to be lightly and wavily drawn over the work after it is blended4 ,it is then ready for the varnish4 ,satin-wood in ,distemper4--,this ground is prepared with white lead1 stone ochre and small quantities of chrome yellow and burnt sienna4 ,the graining color is one-third of raw sienna and whiting1 ground in pale ale1 very thin2 then spread the color over the surface to be grained4 ,while wet soften1 and have ready a wet roller or mottling brush1 in order to take out the lights2 blend the whole with the badger hair brush1 and with the same color put on the top grain4 ,varnish4 ,to ,imitate ,granite in ,oil4--,for the ground color1 stain your white lead to a light lead color1 with lamp-black and a little rose-pink4 ,throw on black spots with a coarse brush or graniting machine4 ,a pale red also1 and fill up with white before the ground is dry4 ,another for the ,same4--,a black ground2 when half dry throw in vermilion1 a deep yellow1 and white spots4 ,marble4--,for ,white ,marble1 get up a pure white ground1 then hold a lighted tallow candle near the surface1 and allow the smoke to form the shades and various tints desired4 ,this will make a very handsome imitation4 ,black ,marble4--,imitation is made by streaking a black surface with colors1 using a feather and pencil4 ,another plan is to get up a smooth black surface2 then take the colors1 green1 yellow1 red1 white1 etc41 ground thick in gold size1 and streak the surface with a stick or hair pencil4 ,allow it to dry1 and apply a heavy coat of lamp-black and yellow ochre mixed1 mixed rough stuff4 ,when all is hard1 rub down to a level surface with lump pumice-stone1 varnish and a beautiful variegated marble will be the result4 ,red ,marble4--,for the ground put on a white tinged with lake or vermilion2 then apply deep red patches1 filling up the intermediate spaces with brown and white mixed in oil2 then blend them together2 if in quick drying colors1 use about half turpentine and gold size4 ,when dry1 varnish1 and while the varnish is wet1 put in a multitude of fine white threads1 crossing the whole work in all directions1 as the wet varnish brings the pencil to a fine point4 ,jasper ,marble4--,put on a white ground lightly tinged with blue2 then put on patches of rich reds or rose-pink1 leaving spaces of the white ground2 then partly cover these spaces with various browns to form fossils1 in places running veins2 then put in a few spots of white in the centre of some of the red patches1 and leaving1 in places1 masses nearly white4 ,when dry use the clearest varnish4 ,blue and ,gold ,marble4--,for the ground color put on a light blue2 then take blue1 with a small piece of white lead and some dark common blue1 and dab on the ground in patches1 leaving portions of the ground to shine between2 then blend the edges together with a duster or a softener2 afterwards draw on some white veins in every direction1 leaving large open spaces to be filled up with a pale yellow or gold paint2 finish with some fine white running threads1 and a coat of varnish at last4 ,black and ,gold ,marble4--,this description of marble is very chaste1 and is in great demand4 ,the ground is a deep black1 or a dead color1 in gold size1 drop black and turpentine2 second coat1 black japan4 ,commence veining2 mix white and yellow ochre with a small quantity of vermilion to give a gold tinge2 dip the pencil in this color1 and dab on the ground with great freedom some large patches1 from which small threads must be drawn in several directions4 ,in the deepest part of the black a white vein is sometimes seen running with a number of small veins attached to it1 but care must be taken that these threads are connected with and run1 in some degree1 in the same direction with the thicker veins4 ,if durability is not an object1 and the work required in a short time1 it may be executed very quickly in distemper colors1 and when varnished1 it will look well4 ,compound ,colors4--,the following tints can be formed by mixing the colors as below4 ,the shades can be made to suit any taste by the exercise of a little judgment in proportioning the colors3 ,cream4--,white lead1 yellow and red4 ,drab4--,white1 ,prussian blue and vermilion4 ,fawn4--,white1 stone ochre and vermilion4 ,flesh4--,lake1 white lead1 and a little vermilion4 ,grey1 ,pearl--,white lead1 ,prussian blue1 and a very little black4 ,grey1 ,flaxseed4--,white lead1 ,prussian blue1 and a little lake4 ,gold4--,massicot1 or ,naples yellow1 with a small quantity of ,realgar and ,spanish white4 ,green1 ,light willow4--,white1 mixed with verdigris4 ,green1 ,grass4--,yellow pink with verdigris4 ,green1 ,pea4--,white lead and chrome or ,paris green4 ,green1 ,dark4--,black and chrome green4 ,green1 ,olive4--,prussian blue and ,french yellow2 mix to the tints required4 ,this is a cheap and handsome color for outside work1 such as doors1 carts1 wagons1 railway cars1 etc4 ,jonquil4--,yellow1 pink and white lead4 ,this color is only for distemper4 ,lead4--,prussian blue and white1 with a light shade of white4 ,olive4--,for distemper1 use indigo and yellow pink mixed with whiting or white lead powder4 ,olive4--,red1 green1 or black and yellow4 ,pearl4--,white lead1 ,prussian blue and red4 ,purple4--,dark red mixed with violet4 ,purple4--,white1 ,prussian blue and vermilion4 ,red1 ,dark4--,english ,venetian1 red lead and litharge4 ,red1 ,light4--,venetian red1 and red lead in equal parts4 ,red1 ,deep4--,vermilion1 with a very small quantity of red lead4 ,stone4--,white1 with a little spruce ochre4 ,straw4--,white lead and yellow4 ,snuff4--,yellow1 sienna and red4 ,slate4--,white lead1 black1 red and blue4 ,steel4--,ceruse1 ,prussian blue1 fine lac and vermilion4 ,salmon4--,white lead1 yellow and red4 ,walnut4--,tree color2 two-thirds white lead and one-third red ochre1 yellow ochre and umber1 mixed according to the shade sought4 ,if veining is required1 use different shades of the same mixture4 7,see article on graining74 ,yellow1 ,light4--,french yellow and white lead4 ,a little red lead may be used4 ,another4--,french yellow1 white and red lead4 ,another4--,a mixture of a small portion of ,prussian blue1 ,french yellow1 white lead and ,turkey umber and burnt vitriol1 or litharge1 will produce different shades of yellow1 according to the preponderance of one of the above colors4 ,yellow4--,bright for floors1 white lead1 ,french yellow1 chrome yellow a little1 some red lead and litharge2 mix with equal parts of boiled oil and turpentine and use it thin4 ,yellow1 ,dark4--,french yellow and a little red4 ,yellow1 ,lemon4--,yellow pink1 with ,naples yellow4 ,for distemper only4 ,,miscellaneous ,,receipts4 ,for ,iron4--,a good paint for preserving iron exposed to the weather1 is made as follows3 ,pulverized oxides of iron1 such as yellow and red iron ochres1 or brown hematite iron ores1 finely ground1 and simply mixed with linseed oil and a dryer4 ,white lead applied directly to iron is thought to have a corrosive effect4 ,it may be applied over more durable colors4 ,red lead1 when pure1 is very durable4 ,an instance is recorded of iron painted with it having been under water for nearly #ej years1 and had not been affected by rust4 ,sheet iron1 before being used for roofs or other outside purposes1 should be heated and dipped into hot linseed oil1 which will penetrate into it4 ,tinned iron in roofs has been found to corrode quicker than in former years1 owing to the more general use of coal4 ,paint for ,rusty ,iron4--,black ,japan varnish1 mixed with turpentine1 to make it thinner if necessary1 is one of the best preventatives2 but the iron must be dry when you put it on4 ,if you can warm the iron when painting it1 so much the better4 ,if not sufficiently opaque1 you may put in dry finely pulverized paint1 such as lamp-black4 ,red lead1 with linseed oil is also a good paint for rusted iron2 so are the mineral reddish-browns which consist of oxide of iron2 they become very hard1 and are used for the iron-work of the elevated railroads in this city4 ,to ,paint on ,stucco4--,great care is required in painting upon stucco1 for the work must not only be thoroughly dry1 but free from any liability of dampness2 that is to say1 the walls themselves must be dry4 ,it is1 consequently1 usual to allow the stucco to remain for several months before it is painted2 and this is especially necessary when it covers over a large surface1 as in the walls of churches1 chapels and theatres4 ,if the paint be applied too soon1 the work will have a blotched appearance1 and be probably filled with small vesicles1 formed during the evaporation of the water4 ,when the work is dry1 it may be prepared by covering it with a coat of linseed oil1 boiled with dryer4 ,this must be laid on very carefully1 or the face will be irregular4 ,the color may then be applied1 and four coats will not be too much1 the work being new4 ,persons are generally so anxious to have their buildings finished1 that they disregard the future appearance of the work1 and within a few weeks after the application of the stucco1 cover it with paint4 ,but it would1 in all cases1 be sufficient to wash the surface with distemper1 as it would give a finished appearance to the building1 and make it less necessary to hurry the work4 ,when the work is sufficiently dry to receive the oil-colors the distemper color should be removed by washing1 and when the stucco is dry apply the oil-color4 ,the tints may be regulated by mingling different colors1 as in all other kinds of painting4 ,plastered walls should not be painted until they are thoroughly dry1 and all settling in a new house has taken place4 ,if painted too soon they will blister4 ,unseasoned wood should never be painted1 as it stops the pores of the wood and the sap acidulates1 causing dry rot4 ,greasy surfaces must be washed with water mixed with lime or soda1 otherwise the paint will not adhere to it4 ,mixing ,quick ,drying ,paint4--,venetian blinds should be painted to dry dead1 then varnish2 but few take this trouble4 ,mix the paint as under3 ,white lead1 boiled oil1 and the least drop of turps2 mix sufficient of each to form a creamy mixture2 then add about #a oz4 patent drier to each #a lb4 of paint4 ,if you want the paint darker use enough burnt umber to give the required tint4 ,if you want to varnish1 omit the oil and use turps4 ,transparent ,paint for ,glass4--,take for blue pigment1 ,prussian blue2 for red1 crimson lake2 for yellow1 ,indian yellow2 and for other shades1 a mixture of the appropriate primary colors4 ,rub them in a size made as follows3 ,venice turpentine1 #b parts2 spirits of turpentine1 #a part1 and apply with a brush4 ,the colors are moderately fast unless exposed too long to direct sunlight4 ,a solution of the various aniline dyes in shellac varnish has also been recommended4 ,gilding4--,gold leaf is the only successful application4 ,first put on a coat of ,japan gold size1 and when that is 8tacky10 and nearly dry1 lay on the gold-leaf and dab it with a small tuft of cotton-wool4 ,where you buy the gold-leaf you can buy a gilder's tool for applying it2 but in order to get a smooth surface it must 7when perfectly dry7 be burnished with an agate burnisher1 which you will also get at the color-shop1 but you will not be able to burnish gold-leaf on the bare wood4 ,you can1 if you like1 varnish with pale copal varnish4 ,gilding on ,glass4--,glass letters are gilt the same way as you would a name on a glass door4 ,you can easily get a good burnish if you take a little trouble4 ,get some of the best cotton wool at a chemist's1 and well polish the gold with it2 the gold must be thoroughly dry4 ,then go over it with your size boiling hot2 do not touch the same place twice with the brush1 or you will bring the gold up2 repeat the process three or four times1 being sure to have your gold dry each time1 the hotter the size the brighter will be the burnish2 be careful1 however1 and not break the glass with the heat4 ,gilding ,fretwork1 etc4--,the first thing to be done is to whiten the work4 ,to do this scrape some whitening very fine1 place it in a pipkin with a lump of gilder's size1 and water sufficient to make it of the consistency of thick cream1 when heated over a fire2 then1 with a camel-hair pencil1 paint it on the object several times1 allowing each coat to dry before applying the next4 ,when the several coatings have raised it to the thickness of in41 set it aside for twelve or more hours1 to harden2 when hardened1 smooth the surface with very fine sandpaper first1 and finally with a piece of cork2 when using the cork frequently dip it in water1 and1 when practicable1 use it in a circular motion4 ,thus far successful1 the next thing is to lay on the gold4 ,to gild1 then1 dissolve some gilder's--not common size--in water1 and heat1 and with a full brush lay it on the surface of the object4 ,cut the gold leaf1 on a pad of buff leather1 with a clean cut of the knife 7much easier said than done2 perseverance1 however1 with the cost of a book or two of gold mutilated1 and a large amount of patience exhausted1 will overcome the difficulty71 to the size required2 take these up on a tip 7a row of long hairs placed between two bits of cardboard7--the professional way to do this is to strike the hair of the tip against the gilder's own whiskers or hair--and gently lay them on the surface of the object1 taking care that each succeeding piece slightly overlaps the preceding4 ,when dry1 a small piece of fine sponge1 dipped in a weak solution of size water1 should be gently passed over it to give a uniform appearance4 ,if the bright gold requires to be deadened1 deep ormolu should be used in a similar way after sizing4 ,the yellow used for the ungilt portions consists of gilder's yellow1 dissolved in size water1 and is put on with a brush4 ,painting on ,gilded ,panels4--,there is no preparation needed to paint in oils on a gilded panel4 ,no mediums are required1 the ordinary oil colors being used unmixed4 ,if required to dry flat and to remain so1 they are mixed with turpentine and left unvarnished4 ,if the shiny look of oils is to be retained1 they are slightly diluted with boiled oil1 and varnish with white hard varnish when dry4 ,gilding on ,wood4--,to gild in oil1 the wood1 after being properly smoothed1 is covered with a coat of gold size1 made of drying linseed oil mixed with yellow ochre2 when this has become so dry as to adhere to the fingers without soiling them1 the gold leaf is laid on with great care and dexterity1 and pressed down with cotton wool2 places that have been missed are covered with small pieces of gold leaf1 and when the whole is dry1 the ragged bits are rubbed off with cotton4 ,this is by far the easiest mode of gilding2 any other metallic leaves may be applied in a similar manner4 ,pale leaf gold has a greenish yellow color1 and is an alloy of gold with silver4 ,dutch gold leaf is only copper colored with the fumes of zinc2 being much cheaper than gold leaf1 is very useful when large quantities of gilding are required in places where it can be defended by the weather1 as it changes color if exposed to moisture1 and it should be covered with varnish4 ,silver leaf is prepared every way the same as gold leaf2 but when applied1 should be kept well with varnish1 otherwise it is liable to tarnish2 a transparent yellow varnish will give it the appearance of gold4 ,whenever gold is fixed by means of linseed oil1 it will bear washing off1 which burnished gold will not4 ,to ,gild ,letters4--,when the sign is prepared as smooth as possible1 go over it with a sizing made by white of an egg dissolved in about four times its weight of cold water2 adding a small quantity of fuller's earth1 this to prevent the gold sticking to any part but letters4 ,when dry1 set out the letters and commence writing1 laying on the size as thinly as possible1 with a sable pencil4 ,let it stand until you can hardly feel a slight stickiness1 then go to work with your gold leaf knife and cushion1 and gild the letters4 ,take a leaf upon the point of your knife1 after giving it a slight puff into the back part of your cushion1 and spread it on the front part of it as straight as possible1 give it another slight puff with your mouth to flatten it out4 ,now cut it to the proper size1 cutting with the heel of your knife forwards4 ,now rub the tip of the knife lightly on your hair2 take up the gold on the point1 and place it neatly on the letters2 when they are all covered1 get some very fine cotton wool1 and gently rub the gold until it is smooth and bright4 ,then wash the sign with clean water to take off the egg size4 ,sign ,writing in ,colors1 ,etc4--,on an oak ground ornamental letters1 in ultra-marine blue1 filled in with gold and silver leaf1 blocked up and shaded with burnt sienna4 ,another4--,gold letters on a white marble ground1 blocked up and shaded with a transparent brown or burnt sienna4 ,on glass4--,gold letters shaded with burnt sienna4 ,another4--,gold letters shaded with black on a scarlet or chocolate ground4 ,on a rich blue ground shaded with black1 look very well4 ,on a purple ground1 pink letters shaded with white4 ,mix ultra-marine and vermilion for a ground color1 white letters shaded with grey4 ,vermilion ground1 chrome yellow stained and vermilion and lake1 for the letters shaded with black4 ,a substitute for the above colors3 ,rose-pink and red lead2 and for the letters stone yellow1 white lead and ,venetian red4 ,mix your colors for writing in boiled oil1 and use for dryer gold size4 ,other good grounds for gold letters are1 blues1 vermilion1 lake and ,saxon4 ,when your sign is ready for gilding1 follow the directions under the head 8,to ,gild ,letters on ,wood40 ,gilder's ,size4--,drying or boiled linseed oil1 thickened with yellow ochre1 or calcined red ochre1 and carefully reduced to the utmost smoothness by grinding4 ,it is thinned with oil of turpentine4 ,staining ,wood a ,dull ,black4--,the work required to be stained should be colored with drop-black and size4 ,when this is thoroughly set it should be papered off and colored again1 and then be papered off again4 ,the polish should also be stained with drop black and a little indigo4 ,next polish to a perfect surface1 and let it set4 ,after the wood has absorbed all the polish possible1 polish again1 and dull it with the finger dipped in fine emery2 a fine metallic surface will thus be obtained4 ,staining ,floors4--,the best and cheapest and only permanent stain for floors is permanganate of potash4 ,buy it by the lb41 and at a wholesale chemist's2 mix about oz4 in a quart of water4 ,apply freely and quickly to a dry floor with either cloth or brush1 the latter if you care for staining your hand4 ,repeat the process for a very dark oak color2 when dry1 oil with burnt oil or beeswax and turpentine2 you cannot wash this color out4 ,benson's stain is only permanganate of potash4 ,at first for a few moments the color is bright magenta1 but this at once changes to a dark permanent brown4 ,for fifty cents a whole house may be stained4 ,varnishing ,wood4--,after smoothing wood with veneer scraper1 brush on thick coat of shellac varnish2 then use fine sandpaper1 ,no4 #j4 ,do this three times for close grained woods1 such as black cherry1 and four times for porous wood1 such as chestnut4 ,have two dishes4 ,into one put finely ground pumice2 into the other raw or boiled oil4 ,apply a mixture of these with a piece of hair-cloth or broad-cloth4 ,don't rub too hard4 ,finish up with rotten stone1 which will remove pumice and oil4 ,above is a good dead varnish4 ,another4--,take encaustic wax1 heat1 and apply with a cork2 rub in well1 brush on thin coat shellac varnish1 finish with pumice and oil4 ,solvent for ,old ,putty and ,paint4--,soft soap mixed with a solution of potash or caustic soda1 or pearlash and slaked lime mixed with sufficient water to form a paste4 ,either of these laid on with an old brush or rag1 and left for some hours1 will render the putty or paint easily removable4 ,another4--,slack three pounds of stone quicklime in water1 then add one pound of pearlash1 and make the whole about the consistence of paint4 ,apply it to both sides of the glass1 and let it remain for twelve hours1 when the putty will be so softened that the glass may be easily taken out of the frame4 ,another4--,break the putty up in lumps the size of a hen's egg1 add a small portion of raw linseed oil1 and water sufficient to cover the putty1 boil this in an iron vessel for about ten minutes and stir it when hot4 ,the oil will mix with the putty1 then pour the water off and it will be like fresh made4 ,for removing hard putty from a window sash take a piece of square iron1 make the same red hot1 and run it along the putty till it gets soft4 ,the putty will peel off without injuring the wood work4 ,wash for ,outside ,work4--,for woodwork slake half a bushel of fresh lime1 by pouring over it boiling water sufficient to cover it #d or #e inches deep1 stirring it until slacked2 add #b lbs4 of sulphate of zinc 7white vitrol7 dissolved in water4 ,add water enough to bring all to the consistency of thick whitewash2 it may be colored by adding powdered ether1 ,indian red1 umber1 etc4 ,if lampblack is added to colors1 it should first be thoroughly dissolved in alcohol4 ,the sulphate of zinc causes the wash to become hard in a few weeks4 ,another for ,brick1 ,masonry1 and ,rough-cast4 ,slake half a bushel of lime as before2 then fill a barrel full of water1 and add a bushel of hydraulic cement4 ,add #c lbs4 of sulphate of zinc previously dissolved in water4 ,the whole should be of the thickness of paint4 ,the wash is improved by stirring in a peck of white sand1 just before using it4 ,it can be colored as before described4 ,french ,polish4--,coat with one or more coats of shellac and rub down smooth2 make a rubber by rolling up a piece of flannel about #c or #d inches wide until it is about #a inches in diameter1 and tie it round with cord4 ,lay the end of the rubber on the mouth of a thin necked bottle and apply the varnish to it1 having previously shaken up the contents in the bottle2 then enclose the end of the rubber with a piece of soft linen doubled1 and moisten the face of the linen with a little raw linseed oil4 ,pass the rubber with a quick1 light and circular motion over the surface until the varnish becomes dry1 or nearly so1 and charge the rubber again with varnish until #c coats have been laid on1 when a little oil may be applied to the rubber and two more coats laid on4 ,in the finishing coat wet the inside of the cloth with a little alcohol1 and rub quickly and lightly over the whole surface4 ,lastly wet the linen cloth with a little oil and alcohol without varnish1 and rub as before until dry4 ,the varnish is the usual preparation of shellac4 ,see cabinet maker's varnish4 ,wood ,filling ,composition4--,boiled linseed oil1 #a qt42 turpentine1 #c qts42 corn starch1 #e lbs42 ,japan1 #a qt42 calcined magnesia1 #b oz42 mix thoroughly4 ,another4--,whitening1 #f oz42 ,japan1 pt42 boiled linseed oil1 pt42 turpentine1 pt42 corn starch1 #a oz42 mix well together and apply to the wood4 ,add coloring if required4 ,another4--,linseed oil1 #a qt42 spirits of turpentine1 pt42 lime1 the size of a base-ball1 broken fine4 ,let the mixture simmer on a stove1 covered over1 for two or three hours1 then strain through a coarse cloth4 ,it is to remain on #bd hours1 then rub off with a woolen cloth and polish4 ,german ,filling4--,fill the pores with raw tallow and plaster of ,paris well amalgamated before a fire in cold weather4 ,darken1 if required1 with any coloring to suit4 ,when well rubbed in give a coat of shellac and ,french polish or varnish4 ,polish for ,walnut ,wood4--,mix with two parts of good alcoholic shellac varnish1 one part of boiled linseed oil1 shake well1 and apply with a pad formed of woolen cloth4 ,rub the furniture briskly with a little of the mixture until the polish appears4 ,rules the ,painter ,should ,observe4--,never eat or sleep without washing the hands and face and rinsing the mouth4 ,keep the buckets1 brushes1 etc41 clean1 so that they may be handled without smearing the hands4 ,never sleep in a paint shop nor in a newly painted room4 ,never allow paint to accumulate on the clothing or finger nails4 ,never wash the hands in turpentine1 as it relaxes the muscles and injures the joints2 any animal oil or even linseed oil is better4 ,never drink water that has stood any length of time in a paint shop or newly painted room4 ,never use spirituous liquors as it unites with the mineral salts and tends to harden them and causes inflammation of the parts where they concrete4 ,milk1 sweet oil and the like should be used freely1 as they tend to soften the accumulated poisons and carry them off4 ,vinegar and acid fruits used constantly1 unite4 ,,paper-,,hanging4 ,the art of putting on1 or 8,hanging0 paper is very simple1 and is easily learned2 but to make a tasteful choice of paper for various situations1 is not so easy1 hence the following remarks1 which may be of service to the workman or others on whom the selection of paper may devolve4 ,walls to a room should be regarded only in the light of a frame-work to what the room contains1 and should be decorated so as to bring into prominence and not eclipse the other parts of the chamber4 ,nothing destroys the effect of a room so much as a handsome but staring wall paper1 or a wall so profusely ornamented as to strike upon the eye to the exclusion of the rest of the decorations1 thus bringing forward what should be the background into the most conspicuous place4 ,a modern drawing room is always difficult to decorate artistically1 because of the taste of its builders for heavy cornices1 prominent mantelpieces1 and rooms too lofty for their size2 and as all these misnamed 8embellishments0 are too costly to remove by tenants1 the only plan to pursue is to destroy their effect by exercising both taste and ingenuity4 ,first1 with regard to the ceiling1 the ornamental plaster boss in its center should be removed1 and the ceiling tinted a color that harmonizes with the wall paper1 as no harmonies can be hoped for when what produces them is surmounted with the glaring white of an ordinary ceiling4 ,the tint used must be one that softens into the wall paper1 not one that contrasts2 thus1 if the tone of the room is that of a soft grey blue1 the ceiling should be a clear flesh pink2 or should a grey gre picked out with black be the chosen color1 then it should be colored a subdued lemon4 ,some people cover their ceilings with a whole colored paper1 and border it with a stencilled pattern representing the thin garlands so familiar upon ,queen ,anne decorations1 but this is a more troublesome plan than the simple coloring1 which answers all the purpose4 ,the walls1 if they are lofty1 require a high dado4 ,these high dados give a look of comfort and 8home0 that is absent from the modern high pitched room papered with one uniform pattern4 ,the dado is divided #c feet to #d feet from the ceiling1 and the coloring of the lower portion must always be heavier than that used on the upper or a top heavy look will be given to the room4 ,when many pictures are to be hung up the lower part of the dado should be of a whole color1 either a whole colored paper or a painted wall1 as pictures are only shown off upon such a background4 ,where a whole tint is used for the lower part of the dado1 the upper portion should be decorated with a frieze paper of a good bold pattern1 but of subdued coloring and of tint that harmonizes with the lower4 ,thus1 the color used about the frieze should be the same as that on the lower part1 but of a lighter shade1 intermixed with some other colors that form a harmonious link between the two shades4 ,contrasts must be carefully avoided1 but pale pinks1 blue and ambers can be blended together above a subdued grey blue ground4 ,the two portions of the dado should be joined together with a light wooden 7black or brown7 railing1 or with a line of paint4 ,the dado decoration can be altered by placing the pattern paper upon the lower part and leaving the upper plain-colored with or without a stencilled pattern upon it4 ,this will suit a room where not many pictures are required1 or that is already rather dark4 ,some part of the wall should always be in plain color1 as the eye requires rest2 and no pattern1 however subdued in hue1 can give the relief to the mind that a bit of plain coloring affords1 and this scarcity of ornament in one part of a room is amply repaid by the effect it gives to such parts as are bright and should be bright4 ,the true theory of effect is to use but one or two bright colors in a room1 and to surround them by soft and subdued tints that throw up and do not destroy their brilliancy2 a number of bright colors placed together destroy each other1 and leave no impression upon the mind but glare and vulgarity4 ,having settled upon your paper and ceiling1 have the woodwork and cornice of the room painted either a shade lighter or darker than the walls1 and shroud up the mantelpiece with curtains1 etc41 of satin sheeting embroidered with crewels1 and instead of the usual looking glass over the fire-place1 have a mirror surrounded with brackets holding china2 or have a black wooden mantelpiece made with squares of looking glass set in4 ,the back-ground of your room being thus completed in a manner really to be a back-ground1 your furniture will look twice as well as if it were stared out of countenance by the walls1 and one need hardly add that all your friends will delight in a room that throws up and brings out their dresses and faces1 instead of killing them by its glaring tints4 ,operations4--,to prepare the walls1 make a size of glue and water1 then give the walls a coat of a very weak solution of the same4 ,to make a paste1 take two pounds of fine flour1 put in a pail2 add cold water1 and stir it up together in a thick paste4 ,take a piece of alum about the size of a small chestnut1 pound it fine and throw it into the paste2 mix well4 ,then provide about six quarts of boiling water and mix while hot with the paste until the whole is brought to a proper consistency4 ,this makes an excellent paste1 and fit for use when cold4 ,cleaning ,paper-,hangings4--,a very good method to clean paper-hangings is that used oftentimes in cleaning the margins of prints4 ,cut into eight pieces a quartern loaf two days old1 and after having swept all the dust from the paper-hangings1 commence from the ceiling downward1 and somewhat lightly rub the paper with a downward stroke with one of the pieces of bread4 ,continue this round the room1 and then commence lower down in the same way till the whole of the surface of the paper has been gone over4 ,the bread will from time to time get dirty1 and it should be cut off as often as required4 ,care should be exercised not to rub the paper with a cross or horizontal stroke1 only with the perpendicular movement of the hand or the paper may peel off the walls from the joints4 ,with careful manipulation1 paper will look almost as good as new4 ,varnishing ,paper-hangings4--,when papers are hung in places where there is much passing1 they are subject to greater wear than in an ordinary room1 and varnishing is resorted to1 to make them more durable1 as it prevents soiling2 they may also be cleaned with a damp cloth1 and are not in wear so likely to be damaged by rubbing off the wall4 ,halls1 lobbies1 staircases1 and offices are sometimes varnished for durability1 but as a rule the appearance is not improved4 ,the paper must be sized twice1 the first being dry before the next is applied1 when the varnish is laid evenly on4 ,it is necessary to size the paper twice1 as the first time may not effectually cover it1 when the varnish would stain the paper as badly as if oil had been applied4 ,the size necessary for sizing the paper before varnishing should be clean and transparent4 ,parchment cuttings boiled down in water and strained will make excellent size for this purpose4 ,before it is cold it should be either strained through calico1 or poured off1 leaving the bits at the bottom4 ,a patent size is sold for this purpose1 but parchment size is the most reliable4 ,use clean brushes for size and varnish4 ,a ,paste that will ,keep ,well4--,a correspondent writes to a journal this formula for a non-poisonous paste that will keep well in hot weather3 ,wheat flour1 #a ounce2 powdered alum1 drachm2 water1 sufficient1 or #h ounces2 oil of clove1 or wintergreen1 #c or #d drops4 ,rub the flour and the alum with the water to the consistency of milk2 place this over a moderate fire1 and stir constantly1 until the paste drops from the wooden paddle in jelly-like flakes1 and has the appearance of glycerite of starch4 ,while the mass is still hot1 add the essential oil1 and pour the paste into an earthenware pot or open jar4 ,in the course of about an hour a crust forms on the top2 pour gently on this an inch of water1 more or less4 ,when some paste is wanted1 decant the water1 take out the quantity needed1 and put some water again on the remainder1 repeating the operation each time4 ,paste may be kept in this way for months1 and will never be troubled with flies4 ,,useful ,,hints ,,for ,,estimating ,,cost ,,of ,,work ,,and ,,materials4 ,all surface painting is measured by the superficial yard1 girting every part of the work covered1 always making allowance for the deep cuttings in mouldings1 carved work1 railings or other work that is difficult to get at4 ,where work is very high and scaffolding or ladders have to be employed1 allowances must be made4 ,the following rules are generally adopted in this country in the measurement of work4 ,surfaces under six inches in width or girt are called #f inches2 from six to #ab inches1 #ab inches2 over #ab inches measured superficial4 ,openings are deducted1 but all jambs1 reveals or casings are measured girt4 ,sashes are measured solid if more than two lights4 ,doors1 shutters and paneling are measured by the girt1 running the tape in all quirks1 angles or corners4 ,sash doors measure solid4 ,glazing in both windows and doors is always extra4 ,the tape should be run close in over the battens1 on batten doors1 and if the stuff is beaded1 add one inch in width for each bead4 ,venetian blinds are measured double4 ,dentels1 brackets1 medallions1 ornamented iron work1 balusters1 lattice work1 palings or turned work should all be measured double4 ,changing colors on base boards1 panels1 cornices1 or other work1 one-fourth extra measurement should be allowed for each tint4 ,add five per cent4 to regular price for knotting1 puttying1 cleaning and sand-papering4 ,for work done above the ground floor charge as follows3 ,add five per cent4 for each story of #ab feet or less1 if interior work2 if exterior work1 add one per cent4 for each foot of height above the first #ab feet4 ,it is impossible to give prices for painting that will be reliable in any one section of this country for more than a month1 as the cost of materials and labor is continually varying1 but we offer the following hints1 which may assist the workman to make a fairly just estimate of work3 ,for plain colors on wood-- ,first coat1 per yard1 -- #b coats1 add 0 #d-e #c coats1 0 0 #a ,now1 by this rule1 if the first coat was #aj cents1 two coats would be #ah cents1 and three coats would be #be cents4 ,this is a simple method and easily understood1 and is adapted to any sort of plain painting or graining4 ,graining1 with one or two coats of good varnish1 is worth1 at this writing1 from #fe cents to #b4jj per yard1 and marbling from #a4ej to #b4ge per yard4 ,marbling mantels is worth from #e4jj to #bj4jj1 according to style of marble and beauty of finish4 ,all of the above prices are based on the understanding that the workman furnishes all tools and materials4 ,transcriber's ,notes ,missing and incorrect punctuation has been fixed4 ,due to space restrictions1 the data originally in a remarks column in the table has been restructured into footnotes in the text version4 ,page #h3 8in cold whether0 changed to 8in cold weather0 ,page #bi3 ,the #b sentences beginning with 8,the materials and tools used0 are missing words in this and later editions and have been left as per the original4 ,page #eb3 8wollen cloth0 changed to 8woolen cloth0 ,page #ed3 ,the sentence beginning with 8,the tint used0 has an incomplete word in this and later editions and has been left as per the original4