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diff --git a/old/68866-0.txt b/old/68866-0.txt deleted file mode 100644 index 934868d..0000000 --- a/old/68866-0.txt +++ /dev/null @@ -1,2302 +0,0 @@ -The Project Gutenberg eBook of Hints for painters, decorators, and -paper-hangers., by An Old Hand - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Hints for painters, decorators, and paper-hangers. - Being a selection of useful rules, data, memoranda, methods, and - suggestions for house, ship and furniture painting, - paper-hanging, gilding, color mixing, and other matters useful - and instructive to painters and decorators. Prepared with special - reference to the wants of amateurs - -Author: An Old Hand - -Release Date: August 29, 2022 [eBook #68866] - -Language: English - -Produced by: Charlene Taylor and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK HINTS FOR PAINTERS, -DECORATORS, AND PAPER-HANGERS. *** - - - - - -NOW READY. - -_Second and Enlarged Edition._ - -The Steel Square - -AND ITS USES. - -By FRED. T. HODGSON. - - -This is the only work on THE STEEL SQUARE AND ITS USES ever published. -It is Thorough, Exhaustive, Clear, and Easily Understood. Confounding -terms and scientific phrases have been religiously avoided where -possible, and everything in the book has been made so plain that a boy -twelve years of age, possessing ordinary intelligence, can understand -it from end to end. - -The New Edition is Illustrated with over Seventy-five Wood-cuts, -showing how the Square may be used for solving almost every problem in -the whole Art of Carpentry. - -The following synopsis of the contents of the work will give some idea -of its character and scope. - - --History of the “Square.”--Description, with Explanation of the - Rules, Figures, Scales, and Divisions shown on good Squares. - - --Brace Rules, Octagonal Scale, Board, Plank and Scantling Rules, - fully explained and described. - - --How to lay out Rafters, Hips, Jack-Rafters, Purlins, Bevel Works, - etc., etc. - - --Backing for Hips, Lengths and Bevels of Valley Rafters. Laying out - Stairs and Strings. - - --How to describe Circles, Ellipses, Parabolas and other figures, with - the Square. - - --How to obtain Bevels for Hoppers and all kinds of Splayed Work and - Spring Mouldings, by the Square. - - --Bisecting Circles, Proportion of Circles, Division of Widths, - Bisection of Angles, Diminishing Stiles, Centering Circles, etc., etc. - - --Theoretical Rafters, Cuts for Mitre Boxes, Measurement of Surfaces, - including Painting, Plastering, Shingling, Siding, Flooring, Rough - Boarding, Tinning and Roofing. - - --Rules for describing Octagons and Polygons of every description and - how to find their angles and areas. - - --Rules for finding the lengths of Rafters and Hips of Irregular - Roofs, Cuts for Equal and Unequal Mitres, Trusses and Bevel Timber - Work. - - --The Development of Hip and Curved Roofs; Veranda Rafters, Straight - and Curved; Hopper Cuts of all kinds, Angle Corner-pieces, Splayed - Work for Gothic Heads, etc., etc., and many other things useful to the - Operative Mechanic. - - - Handsomely Bound in Cloth with Gilt Title. - Price ONE DOLLAR. - - INDUSTRIAL PUBLICATION COMPANY. - - New York. - - - - - HINTS FOR PAINTERS, - - DECORATORS, - - AND PAPER-HANGERS. - - BEING - - A SELECTION OF USEFUL RULES, DATA, MEMORANDA, METHODS, - AND SUGGESTIONS FOR HOUSE, SHIP AND FURNITURE PAINTING, - PAPER-HANGING, GILDING, COLOR MIXING, AND OTHER - MATTERS USEFUL AND INSTRUCTIVE TO PAINTERS - AND DECORATORS. - - Prepared with Special Reference to the Wants of Amateurs. - - BY - - AN OLD HAND. - - - NEW YORK: - THE INDUSTRIAL PUBLICATION COMPANY. - 1882. - - - - -PREFACE. - - -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 intelligently. One of its objects -is to deal with the nature, characteristics, qualities, and defects of -the materials employed by the class of artisans for whom it is written; -and to a limited extent this has been done with as little theory as -possible; high-sounding technicalities have also been avoided wherever -the author has been able to make himself understood without them. - -It is thought the young painter may derive great profit and advancement -from a careful study of this book, as the hints, rules, and recipes it -contains are reliable, practical, and of every-day use. - -The author has consulted many works on the subject, and is indebted -to many of them for much of the matter contained, among which may be -mentioned “Building Construction and Materials,” “House-Painter’s -Hand-Book,” “Artists’ and Tradesmen’s Companion,” “Painter’s Guide,” -“Chevreul’s Oils and Paints,” and several other works of more or less -note. To this has been added many things discovered by the actual -experience of the writer. - - - - -CONTENTS. - - - PAGE - - Preface, iii - - Preliminary, 7 - - Preparation of Surfaces, 7 - - Materials Used, 8 - - Bases and Vehicles, 10 - - White Lead, Genuine and Adulterated, 10 - - Linseed and other Oils, 13 - - Driers, 14 - - Coloring Paints, 15 - - Blacks and Blues, 16 - - Yellows, 17 - - Browns, 18 - - Pinks and Reds, 19 - - Lakes and Orange, 20 - - Green, 21 - - Proportion of Ingredients in Mixed Paints, 22 - - Table showing the composition of the - different coats of white paint, and the - quantities required to cover 100 yards of - new work, 23 - - Operations, 24 - - Preparing the Work, 25 - - Taste in Color, 30 - - Graining--General Remarks, 32 - - Graining in Oak, Mahogany, Rosewood, Walnut, - Maple, Satin-wood, Granites, Marbles, etc., 36 - - Rules for Mixing Compound Colors, 41 - - Miscellaneous Receipts, for Painting Iron, - Stucco, Glass; Gilding, Gilding on Glass, - Gilding Fretwork, Painting on Gilded Panels, - Gilding on Wood, Gilding Letters, Gilder’s - Size, Staining Wood, Staining Floors, - Varnishing, Painting Brick-work and Masonry, - French Polish, Wood-filling, Rules for - Painters to Observe, 43 - - Paper-hanging, 54 - - Operations, 56 - - Cleaning Paper-hangings, 57 - - Varnishing Paper, 57 - - The Making of Paste, 58 - - Useful Hints and Table for Estimating Cost - of Work and Materials, 59 - - - - -HINTS FOR PAINTERS AND PAPER-HANGERS. - - -There is a general belief abroad that anybody can execute all that is -required of a house-painter. This is a very popular error; it is not -so easy to prepare and apply a coat of paint in a thorough workmanlike -manner as some may imagine. It is still less easy to paint in parti -colors; and very few can produce a good piece of graining. - -The painter should not only be acquainted with the method of applying -paint when it is provided for him, and the brush placed in his hand, -but he should know the composition of the colors; the manner in which -they are made, and the colors which must harmonize with each other when -they are associated together. These observations being of a practical -nature and the result of experience, are commended for his perusal and -study. - -=Preparation.=--All surfaces painted should be first thoroughly dry and -free from dust. All heads of nails should be punched or “set” below the -surface of the wood, and after the priming is dry, the holes formed -by the heads, as well as all cracks, defects, etc., should be filled -up with putty made of raw linseed oil and whiting. To prevent knots -or “fat” spots from showing through, they should receive two coats of -shellac varnish, and when dry rubbed down with sand-paper. The shellac -should be applied with a small brush. It dries soon and may be painted -over as soon as dry. Shellac prepared this way is called “knotting,” -and can be purchased wherever painters’ materials are kept for sale. - -=Materials.=--The principal materials used for painting, _i.e._, white -lead and oxide of zinc, are so well known that it is unnecessary to -allude particularly to their manufacture at present. Before using them -they should be mixed with pure raw linseed oil. Turpentine may be -used in cold weather to make the paint work easy, as the oil is apt -to chill, which thickens it and makes it difficult to apply. In warm -weather, however, turpentine should not be used in priming any parts -where the sun shines upon. In cold weather it is always necessary -to use litharge or some other drier; or the work will remain a long -time before it hardens; in summer, however, driers in most cases are -unnecessary, 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 -rain, as it will mostly be absorbed in the surface. - -To make satisfactory work it is imperative that all cans, pots and -brushes used in painting be perfectly clean at the start, and kept so -whenever the conditions will permit. A marble slab and muller will be -required to grind the finer colors used. Sometimes a small cast-iron -mill will be found useful not only to grind colors; but to pass the -tinted color through, so that it may be thoroughly mixed. 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 hand. -His large ground paint brush, called a “pound-brush;” his half-size, -for smaller work; his fitch and sash tools, duster, pallet, putty and -hasp knives; oval and flat varnish brushes, varnish-pot, step-ladders -and long ladders, mahl-stick, pallet-board, gilding-knife, camel and -sable hair-pencils, whitewash brushes, jack for window work, cushion, -tip-pole, etc., etc. - -Large brushes, such as 6-0 size, should be bridled when new by winding -good twine around them about one-third up the length of the bristles, -and as the brush wears, this binding can be unwound. Care should be -taken to use the brushes so that they will have a flat wedge-shaped -point, straight on the edge. This can be done by holding the brush -always in one position. If brushes are turned round and round in the -hand while in use, they wear round and stubby on the point and soon -become useless for fine or smooth work. - -Brushes that are in use every day should be placed in water half the -depth of the bristles at night, taking care that brushes containing -different colors do not come in contact with one another. If they -are to be laid aside for any length of time, however, they should be -washed with warm water and soap after being thoroughly cleansed with -turpentine, and laid away in a moist place. - -As a general thing it is better to buy putty already made at a regular -paint store, where you may depend upon its being made of good whiting -and linseed oil than to make it. Putty should not be used until the -work has been primed, for new paint holds the putty very firmly. - -White lead is to be judged of by being well ground and possessing the -mellowness given to it by age. - -It is well known amongst painters that the best article is the most -economical, as it works out with more ease, and repays the difference -of cost in its better appearance and extra durability. Linseed oil is -also better for having due age, for the same reasons as the white -lead, working with softness and advantage after parting with the water, -which is generally combined with new oil. - -In most cases _driers_ are added to paints to cause them to dry more -quickly, and a _solvent_ is sometimes required to make the paints -work more freely. When the color required differs from that of the -main paint used, the desired tint is obtained by adding a staining -or coloring pigment. The materials generally employed may, for -convenience, be classed as follows: - -=Bases.=--White lead, red lead, zinc white, oxide of iron. -_Vehicles._--Oils, spirits of turpentine. _Solvents._--Spirits of -turpentine. _Driers._--Litharge, acetate of lead, sulphate of zinc and -binoxide of manganese, red lead, etc. _Coloring Pigments._--Ochres, -lampblack, umber, sienna, and many metallic salts that will be -hereinafter mentioned. - -White lead may be obtained either pure or mixed with various -substances, such as sulphate of baryta, sulphate of lead, whiting, -chalk, zinc white, etc. These substances do not combine with oil as -well as does white lead, nor do they so well protect any surface to -which they are applied. Sulphate of baryta, the most common adulterant, -is a dense, heavy, white substance, very like white lead in appearance. -It absorbs very little oil, and may frequently be detected by the -gritty feeling it produces when the paint is rubbed between the finger -and thumb. - -=White Lead= is sold either dry, in powder or lump, or else ground -in oil in a paste containing from 7 to 9 per cent. of linseed oil, -and more or less adulterated, unless specially marked “genuine.” When -slightly adulterated with a very white sulphate of baryta, like that -of the Tyrol, the mixture is considered preferable for certain kinds -of work, as the barytes communicates opacity to the color and protects -the lead from being speedily darkened by sulphurous smoke or vapors. -White lead improves by keeping, and when of good quality, will go much -further and last much better than when employed fresh; moreover, paint -made with new lead has a tendency to become yellow. It should not be -exposed to the air or it will turn grey. - -Of all the bases used for paints, white lead is the most commonly used, -and for surfaces of wood it affords in most cases the best protection, -being dense, of good body, and permanent. It has the disadvantage, -however, of blazening when exposed to sulphur acids, and of being -injurious to those who handle it. - -Red lead is produced by raising _massicot_ (the commercial name for -oxide of lead) to a high temperature, short of fusion, during which -it absorbs oxygen from the air and is converted into red lead or -_minium_, an oxide of lead. The color is lasting, and is unaffected by -light when it is pure and used alone, but any preparation containing -lead or acids mixed with it deprive it of color, and impure air makes -it black. It may be used for a drier, as it possesses many of the -properties of litharge; it is also often employed in painting wrought -iron work, to which it adheres with a tenacity not equalled by any -other paints; it is sometimes objected to for this purpose, on the -ground that galvanic action is set up between the lead and the iron. -It is also frequently used for priming on wood work, and is especially -adapted for hard woods. It is frequently adulterated with brick dust; -this may be detected by heating the powder in a crucible, and treating -it with dilute nitric acid; the lead will be dissolved but the brick -dust will remain. It is also adulterated with colcother, a sesquioxide -of iron. Sulphide of antimony, or antimony vermilion, is sometimes -used as a substitute for red lead. It is sold in a very fine powder, -without taste or smell, and which is insoluble in water, alcohol, or -essential oils. It is but little acted upon by acids, and is said to be -unaffected by air or light. It is adapted for mixing with white lead, -and affords an intensely bright color when ground in oil. - -Oxide of zinc, or zinc white, is durable in water or oil; it -dissolves in hydrochloric acid; it does not blacken in the presence -of sulphuretted hydrogen; and it is not injurious to the men who make -it, or to the painters who use it; but on the other hand, it does not -combine with oil well, and is wanting in body and covering power, and -is difficult to work. It is easily acted upon by the carbonic acid -in rain water, which dissolves the oxide, and it therefore is unfit -for outside work. The acids contained in unseasoned wood also have a -great effect upon it. When pure and used for inside work, it retains -its color well, and will stand washing for many years without losing -any of its freshness. When dry it becomes very hard, and will take a -fine polish. This paint is suitable for any place that is subjected -to vapors containing sulphur, or in places where foul air is emanated -from decaying animal matter. In such positions, of course, zinc paints -should not be mixed with “patent” or other driers which contain lead. -The best driers to employ with it are sulphate of manganese and -sulphate of zinc. This white is recommended as being preferable to -white lead for painting on a dark ground. The reason of this is that -the soap formed by the combination of the lead and oil in lead paints -is semi-transparent, and the dark ground shows through it. The want of -density, however, in zinc paints, is a great drawback to their use, -and the purest zinc oxide is not always the best for paint on account -of its low specific gravity; and in this respect, the American zinc -whites, which are frequently very pure, do not generally give as good -satisfaction as the zinc whites made in Belgium. - -=Vehicles.=--Oils are divided into two classes--fixed oils and volatile -oils. Fixed oils are extracted by pressure from vegetable substances, -they are of a fatty nature, do not evaporate in drying, and will bear -a temperature short of 500° Fahr., without decomposing. They are -subdivided into drying oils, which become thick upon exposure to air. -Of these, linseed oil is most commonly used as an ingredient for paint. -Its qualities when pure are excellent, and it may be considered the -best of all oils for use in paint, putty, and other similar substances. -It oxidizes and becomes thick upon exposure to the air. This property -is very much increased by adding other substances to it and boiling -them together. It is superior in drying powers, tenacity, and body to -any other fixed oil. The best oil comes from the Black Sea and the -Baltic; that from the East Indian seed is inferior, as the seed is less -carefully cleaned, and contains too much stearine. Raw linseed oil is -clear and light in color, works smoothly, and is used for internal -works, for delicate tints, and for grinding up colors. Boiled oil is -much thicker, darker, and more apt to clog. It is used for outside -work, as its greater body and rapidity in drying make it a quicker and -more efficient protection. - -=Volatile Oils= are generally obtained by distillation, and have an -odor resembling that of the plant from which they are obtained. They -are, as a rule, colorless at first, but upon exposure to air and light -they become darker, thicker, and eventually are converted into a kind -of resin. Spirits of turpentine is the best variety of this class for -mixing with ordinary paints. Naptha and benzine are sometimes used -instead of turpentine, but not often, and their use is not recommended -when the latter can be obtained. Good spirits of turpentine is lighter -in weight and more inflammable than bad. It is colorless and has a -pleasant pungent smell, whereas the smell of inferior qualities is -disagreeable. It is used as a solvent for resins and other substances -in making varnishes; also in paint to make it work more smoothly. It -is useful also in flatting coats, but will not stand exposure to the -weather. - -=Driers.=--Driers are substances added to paint in order to cause -the oils to thicken and solidify more rapidly. The action of these -substances is not thoroughly understood. Chevreuil has shown that the -drying of linseed oil is caused by the absorption of oxygen; and there -can be no doubt that for the most part driers act as carriers of oxygen -to the oil, a very small quantity producing considerable effects. - -The best driers are those which contain a large proportion of oxygen, -such as litharge, acetate of lead, red lead, sulphate of zinc, -verdigris, etc. They are sometimes used to improve the drying qualities -of the oil with which the paint is mixed, or they may themselves be -ground up with a small quantity of oil, and added to the paint just -before it is used. - -Litharge or oxide of lead is the drier most commonly used, and is -produced in extracting lead from its ores. It can be produced on a -small scale by scraping off the dross which forms on molten lead -exposed to a current of air. _Massicot_ is a superior kind of litharge, -being produced by heating lead to an extent insufficient to fuse the -oxide. Sugar of lead, or, as it is more frequently called, acetate of -lead, ground in oil, and copperas and white vitriol (sulphate of zinc), -are also used as driers, especially for light tints. Oxide of manganese -is quicker in its effects, but is of a very dark color, and seldom used -except for deep tints. Japanners’ gold size and verdigris (acetate of -copper) are also much used for dark colors. Care must be taken not to -apply too much of the size, or it will make the paint brittle. Red -lead (oxide of lead) is often used as a drier when its color will not -interfere with the tint required. It is not so rapid in its action as -litharge or massicot. Sulphate of manganese is the best drier for zinc -white, about 6 or 8 ounces only being used for 100 lbs., of ground zinc -white paint. The manganese should be mixed with a small quantity of the -paint first, and then added to the bulk. If great care be not taken in -mixing the drier the work will be spotted. Sulphate of zinc is also a -good drier for zinc paint. - -Patent driers contain oxidizing agents, such as litharge or acetate of -lead ground and mixed in oil, and therefore in a convenient form for -immediate use. There is great danger, however, in using such driers, -unless they are of the best quality from a reliable maker. Some of the -inferior descriptions depend for their drying qualities upon lime. - -The following points should be observed in using driers:-- - -1st. Not to use them unnecessarily with pigments which dry well in oil -color. - -2d. Not to employ them in excess, which would only retard the drying. - -3d. Not to add them to the color until about to be used. - -4th. Not to use more than one drier to the same color. - -5th. To avoid the use of patent driers, unless known to be of good -quality. - -6th. To avoid the use of driers in the finishing coat of light colors, -as they are liable to injure the color. - -=Coloring Pigments.=--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 decorator. A -few of the most useful may, however, be mentioned. It is not proposed -to give a detailed description of them, but merely to distinguish those -that are injurious from the others. Many of these, such as the ochres, -umbers, etc., are from natural earths; others are artificially made. -They may generally be purchased either in the form of dry powder or -ground in oil. - -=Blacks.=--Lampblack is the soot produced by burning oil, resin, small -coal, resinous woods, coal tar or tallow. It is in the state of very -fine powder; works smoothly; is of a dense black color and durable, but -dries very slowly in oil. - -Vegetable black is a better kind of lampblack made from oil. It is very -light, free from grit, and of a good color. It should be used with -boiled oil, driers, and a little varnish. Raw linseed oil or spirits of -turpentine keeps it from drying. - -Ivory-black is obtained by calcining waste ivory in close vessels and -then grinding. It is intensely black when properly burned. Bone-black -is inferior to ivory-black, and prepared in a similar manner from -bones. Blue-black and Frankfort black of the best quality are made from -vine twigs; inferior qualities from other woods charred and reduced to -powder. In Europe some other blacks are used, but we seldom meet with -them in this country. - -=Blues.=--Prussian blue is made by mixing prussiate of potash with -a salt of iron. The prussiate of potash is obtained by calcining -and digesting old leather, blood, hoofs, or other animal matter -with carbonate of potash and iron filings. This color is much used, -especially for dark blues, making purples, and intensifying black. -It dries well with oil. Slight differences in the manufacture cause -considerable variation in tint and color, which leads to the material -being known by different names--such as Antwerp blue, Berlin blue, -Hærlem blue, Chinese blue, etc. Indigo is produced by steeping certain -plants in water, and allowing them to ferment. It is a transparent -color; works well in oil or water, but is not durable, especially when -mixed with white lead. - -Ultramarine was originally made by grinding the valuable mineral _Lapis -lazuli_. Genuine ultramarine so made is very expensive, but artificial -French and German ultramarines are made of better color, and cheaply, -by fusing and washing and reheating a mixture of soda, silica, alum, -and sulphur. This blue is chiefly used for coloring wall papers. - -Cobalt blue is an oxide of cobalt made by roasting cobalt ore. It makes -a beautiful color, and works well in water or oil. - -Smalt, Saxon blue and Royal blue are colored by oxides of cobalt. - -There are a few other blues, such as Celestial or Brunswick blue, damp -blue and verditer, that are chemical compounds, compounds of alum, -copper, lime, and other substances; but they are so seldom used in this -country that it is unnecessary to describe them in detail. - -=Yellows.=--Chrome yellows are chromates of lead, produced by mixing -dilute solutions of acetate or nitrate of lead and bichromate of -potash. This makes a medium tint known as “middle chrome.” The addition -of sulphate of lead makes this paler, when it is known as “lemon -chrome,” whereas the addition of caustic lime makes it “orange chrome” -of a darker color. The chromes mix well with oil and with white lead -either in oil or water. They stand the sun well, but like other lead -salts, become dark in bad air. Chrome yellow is frequently adulterated -with gypsum. - -Naples yellow is a salt of lead and antimony, supposed to have been -originally made from a natural volcanic product at Naples. It is not so -brilliant as chrome, but has the same characteristics. King’s yellow is -made from arsenic, and is therefore a dangerous color to handle, or -use for internal work. It is not durable, and it injures several other -colors when mixed with them. Chinese yellow, arsenic yellow, and yellow -orpiment are other names for this yellow. - -Yellow ochre is a natural clay colored by oxide of iron, and found -abundantly in many parts of the world. It is not very brilliant, but is -well suited for distemper work, as it is not affected by light or air. -It does not lose its color when mixed with lime washes as many other -colors do. There are several varieties of ochres, all having the same -characteristics differing only in color which varies from a golden to a -dark brown. - -=Terra De Sienna=, or raw Sienna, is a clay, stained with oxides of -iron and manganese, and of a dull yellow color. It is durable both in -oil and water, and is useful in all work, especially in graining. - -=Browns.=--Browns generally owe their color to oxide of iron. Raw umber -is a clay similar to ochre colored by oxide of iron. The best comes -from Turkey; it is very durable both in water and in oil; does not -injure other colors when mixed with them. - -=Burnt Umber= is the last mentioned material burnt to give it a darker -color. It is useful as a drier, and in mixing with white lead to make a -stone color. - -=Vandyke Brown.=--This color is an earthy dark brown mineral; it is -durable both in oil and water, and is frequently employed in graining. - -=Purple Brown= is of a reddish-brown color. It should be used with -boiled oil--and a little varnish and driers for outside work. - -=Burnt Sienna= is produced by burning raw sienna. It is the best color -for shading gold. - -=Brown Pink= is a vegetable color often of a greenish hue. It works -well in water and oil, but dries badly, and will not keep its color -when mixed with white lead. Spanish brown and brown ochre are clays -colored naturally by various oxides. - -=Reds.=--Carmine, made from the cochineal insect, is the most -brilliant red color known. It is, however, too expensive for ordinary -house painting, and is not durable. It is sometimes used for inside -decoration. - -=Red Lead.=--This color has already been described on page 11. - -=Vermilion.=--This is a sulphide of mercury in a natural state as -cinnabar. The best comes from China. Artificial vermilion is also -made both in China and in this country from a mixture of sulphur -and mercury. Genuine vermilion is very durable, but when mixed with -red lead, as it is sometimes, it will not stand the weather. It can -be tested by heating in a test tube; if genuine it will entirely -volatilize. German vermilion is the tersulphide of antimony, and is of -an orange-red color. - -=Indian Red.=--This color is a ground hematite ore brought from Bengal; -it is sometimes made artificially by calcining sulphate of iron. The -tints vary, but a rosy hue is considered the best. It may be used with -turpentine and a little varnish to produce a dull surface, drying -rapidly, or with boiled oil and a little driers, in which case a glossy -surface will be produced, drying more slowly. - -=Chinese Red= and Persian red are chromates of lead, produced by -boiling white lead with a solution of bichromate of potash. The tint of -Persian red is obtained by the employment of sulphuric acid. - -=Venetian Red= is obtained by heating sulphate of iron produced as a -waste product at tin and copper works. It is often adulterated by -mixing sulphate of lime with it during the manufacture. When pure, it -is often called “bright red.” Special tints of purple and brown are -frequently required, which greatly enhance the value of the material. -These tints should be obtained in the process of manufacture, and not -produced by mixing together a variety of different shades of color. -When the tint desired is attempted to be obtained by this latter course -it is never so good, and the materials produced are known in the trade -as ‘faced colors,’ and are of inferior value. - -=Rose Pink.=--This is made of a sort of chalk or whiting stained with -a tincture of Brazil wood. It fades very quickly, but it is used for -paperhangings, common distemper, and for staining cheap furniture. - -=Lakes.=--These are made by precipitating colored vegetable tinctures -by means of alum and carbonate of potash. The alumina combines with -the organic coloring matter and separates it from the solution. The -tincture used varies in the different descriptions of lake. The best, -made from cochineal or madder, is used for internal work. Drop lake -is made by dropping a mixture of Brazil wood through a funnel on to -a slab. The drops are dried and mixed into a paste with gum water. -It is sometimes called “Brazil wood lake.” Scarlet lake is made from -cochineal; so also are Florentine lake, Hamburg lake, Chinese lake, -Roman lake, Venetian lake and Carminated lake. - -=Orange.=--Chrome orange is a chromate of lead, brighter than -vermillion, but less durable. Orange ochre is a bright yellow ochre -burnt to give it warmth of tint; it dries and works well in water or -oil, and is very durable. It is known also as Spanish ochre. Orange red -is produced by a further oxidation than is required for red lead. It is -a brighter and better color. - -=Greens.=--These, of course, may be made by mixing blue and yellow -together, but such mixtures are less durable than those produced direct -from copper, arsenic, etc. The latter are, however, objectionable -for use in distemper or on wall papers, as they are very injurious -to health. Brunswick green of the best kind is made by treating -copper with sal-ammoniac. Chalk, lead and alum are sometimes added. -It has rather a bluish tinge; dries well in oil, is durable, and not -poisonous. Common Brunswick green is made by mixing chromate of lead -and Prussian blue with sulphate of baryta. It is not as durable as -real Brunswick green. Mineral green is made from bi-basic carbonate of -copper; it weathers well. Verdigris is acetate of copper. It furnishes -a bluish-green color, durable in oil or varnish, but not in water; it -dries rapidly, but requires great care in using owing to its poisonous -qualities. Green verditer is a carbonate of copper and lime; is not -very durable. Prussian green is made by mixing different substances -with Prussian blue. There are a number of other greens made from -copper, but they all possess in a greater or lesser degree, the same -qualities as the foregoing. Emerald or Paris green is made of verdigris -mixed with a solution of arsenious acid. It is of a very brilliant -color, but is very poisonous; is difficult to grind, and dries badly in -oil. It should be purchased ready ground in oil, as in that case the -poisonous particles do not fly about, and the difficulty of grinding -is avoided. Scheele’s green and Vienna green are also arseniates of -copper, and highly poisonous. Chrome green should be made from the -oxide of chromium, and is very durable. An inferior chrome green is -made, however, by mixing chromate of lead and Prussian blue, as above -mentioned, and is called Brunswick green. The chrome should be free -from acid or the color will fade; it may be tested by placing it for -several days in strong sunlight. - -=Proportions of Ingredients in Mixed Paint.=--The composition of paints -should be governed by the nature of the material to be painted. Thus -the paints respectively best adapted for painting wood and iron differ -considerably. The kind of surface to be covered, _i. e._, a porous -surface requires more oil than one that is impervious. The nature and -appearance of the work to be done. Delicate tints require colorless -oil; a flatted surface must be painted without oil, which gives gloss -to a shining surface. Again, paint used for surfaces intended to be -varnished must contain a minimum of oil. The climate and the degree of -exposure to which the work will be subjected; thus, for outside work -boiled oil is used, because it weathers better than raw oil. Turps is -avoided as much as possible, because it evaporates and does not last; -if, however, the work is to be exposed to the sun, turps are necessary -to prevent the paint from blistering. The skill of the painter also -affects the composition; a good workman can lay on even coats with a -smaller quantity of oil and turps than a man who is unskilful; extra -turps, especially, are often added to save labor. The quality of the -materials makes an important difference in the proportions used. Thus -more oil and turps will combine with pure than with impure white lead; -thick oil must be used in greater quantity than thin oil. When paint -is purchased ready ground in oil, a soft paste will require less turps -and oil for thinning than a thick paste. Lastly, the different coats -of paint vary in their composition; the first coat laid on to new work -requires a good deal of oil to soak into the material; on old work the -first coat requires turpentine to make it adhere; the intermediate -coats contain a proportion of turpentine to make them work smoothly, -and to the final coats the coloring materials are added, the remainder -of the ingredients being varied as already described, according as the -surface is to be glossy or flatted. - -The exact proportion of the ingredients best to be used in mixing -paints varies according to their quality, the nature of the work -required, the climate, and other considerations. The composition of the -paint for the different coats also varies considerably. The proportions -given in the following table, must, therefore, only be taken as an -approximate guide when the materials are of good quality. - - _Table showing the composition of the different coats of white paint, - and the quantities required to cover 100 yards of newly worked pine._ - - --------------+-------+--------+---------+---------+--------+---------+ - | RED | WHITE | RAW | BOILED | TURPE- | DRIERS. | - | LEAD. | LEAD. | LINSEED | LINSEED | NTINE. | | - | | | OIL. | OIL. | | | - --------------+-------+--------+---------+---------+--------+---------+ - | | | | | | | - _Inside work, | | | | | | | - 4 coats | lbs. | lbs. | pts. | | | lbs. | - not flatted._ | | | | | | | - | | | | | | | - Priming** | ¹⁄₂ | 16 | 6 | -- | -- | ¹⁄₄ | - | | | | | | | - 2d Coat | * | 15 | 3¹⁄₂ | -- | 1¹⁄₂ | ¹⁄₄ | - | | | | | | | - 3d Coat | -- | 13 | 2¹⁄₂ | -- | 1¹⁄₂ | ¹⁄₄ | - | | | | | | | - 4th Coat | -- | 13 | 2¹⁄₂ | -- | 1¹⁄₂ | ¹⁄₄ | - | | | | | | | - _Inside work, | | | | | | | - 4 coats and | | | | | | | - flatting._ | | | | | | | - | | | | | | | - Priming | 1¹⁄₂ | 16 | 6 | -- | ¹⁄₂ | 1-8 | - | | | | | | | - 2d Coat | -- | 12 | 4 | -- | 1¹⁄₂ | 1-10 | - | | | | | | | - 3d Coat | -- | 12 | 4 | -- | 0 | 1-10 | - | | | | | | | - 4th Coat | -- | 12 | 4 | -- | 0 | 1-10 | - | | | | | | | - Flatting | -- | 9 | 0 | -- | 3¹⁄₂ | 1-10 | - | | | | | | | - _Outside work,| | | | | | | - 4 coats | | | | | | | - not flatted._ | | | | | | | - | | | | | | | - Priming*** | 2 | 18¹⁄₂ | 2 | 2 | -- | 1-8 | - | | | | | | | - 2d Coat | -- | 15 | 2 | 2 | ¹⁄₂ | 1-10 | - | | | | | | | - 3d Coat | -- | 15 | 2 | 2 | ¹⁄₂ | 1-10 | - | | | | | | | - 4th Coat | -- | 15 | 3 | 2¹⁄₂ | 0 | 1-10 | - | | | | | | | - --------------+-------+--------+---------+---------+--------+---------+ - -* Sometimes just enough red lead is used to give a flesh-colored tint. - -** Sometimes more red lead is used and less drier. - -*** When the finished color is not to be pure white, it is better to -have nearly all the oil boiled oil. All boiled oil does not work well. -For pure white a larger proportion of raw oil is necessary, because -boiled oil is too dark. - - -For every 100 square yards, besides the materials enumerated in the -foregoing, 2¹⁄₂ lbs. of white lead and 5 lbs. of putty will be required -for stopping. - -The area which a given quantity of paint will cover depends upon the -nature of the surface to which it is applied, the proportion of the -ingredients and the state of the weather. When the work is required to -dry quickly, more turpentine is added to all the coats. - -In repainting old work, two coats are generally required, the old -painting being considered as priming. Sometimes another coat may be -deemed necessary. - -For outside old work exposed to the sun, both coats should contain -one pint of turpentine and four pints of boiled oil, the remaining -ingredients being as stated in the foregoing table. The extra -turpentine is used to prevent blistering. - -In cold weather more turpentine should be used to make the paint flow -freely. - -=Operations.=--All priming should be rubbed out as far as possible, -for if it is flowed out loosely or laid on thick it will be apt to -blister and run. In priming over spots, however, where _patching_ is -being done, it may sometimes be necessary to leave the coat thick or -heavy, for new work can never be re-touched and look well, after the -work is second coated or finished; for such re-touching would show and -spoil the whole work. In priming the paint should flow easily, and the -brush should be pressed on to the wood so that the paint will be forced -into the pores. In all cases it is a great saving of time to cover as -large a surface as convenient before smoothing or finishing off. All -work on the same surface should be finished at the one application, -if possible, for “laps”--which form the junctions of work done at -different times--should be avoided wherever they can, as they are sure -to disfigure the work where they exist. Of course, it is sometimes -impossible to avoid laps, but where they must occur, care should be -taken to make the connection with as little “lap” as possible or it -will be certain to show through the work when finished. The defect, if -occurring during the second coating, will show much worse than in the -priming coat. - -In painting, like everything else, a system must be followed to make -much headway. Experience, perhaps, is the only effective teacher in -this matter; and any rules laid down by us will have but little effect, -if the operator does not, or can not systematize. The workman who -follows a system will do nearly twice as much work with less labor, -than the man who works only by the rule of thumb. In painting blinds, -lattices, railings, cut brackets or other similar work, some method of -operation should be adopted. A little observation on the part of the -operator, will soon teach him the best methods to adopt in doing any -particular kind of work. - -=Preparing the Work.=--In preparing work for painting, too much care -cannot be exercised, as succeeding coats and the final result depend -very much on the proper condition of the work when the priming coat is -applied. First, all the rough places in the wood should be rubbed down -with a block covered with sandpaper; and the mouldings and beads should -be well cleaned out with sandpaper. Then (and this is a matter of prime -importance) every knot, however small, every indication of sap on the -wood, or discoloration of any kind, and every appearance of pitch or -gum, should be carefully varnished over with white shellac varnish, if -the work is to be finished in white or light tints--or with varnish -made from unbleached or common shellac, if the work is to be finished -in dark shades. The common shellac, in the latter case, answers -equally well with the bleached article, and at less cost. This should -not, under any circumstances, be neglected, as it is impossible, in the -nature of things, otherwise to make good work. - -When work is to be finished with two coats, the putty used for -stopping the nail-heads and other indentations should be made of white -lead, worked up with common whiting to the proper consistency, and -the filling should be done after the first coat shall have become -well dried. When more than two coats are to be applied, the filling -should be done between the first and second coats, with ordinary pure -linseed-oil putty. - -It should be adopted as a rule, never to apply pure white as a priming -coat; no matter whether the work is to be finished with one or four -coats, the result will always be more satisfactory if the first coat be -stained. A little finely-ground lampblack answers as well for this as -anything. - -The only way to produce solid, uniform work, is by making every -succeeding coat lighter in tint than the one which preceded it. This -is especially the case with walls, and other extended flat surfaces. -No matter what the finish is to be, the first coat should always be -darker than the one which succeeds it; and the darker the shade of -the finishing coat, the more important it is that this rule should be -observed. If the work is to be finished with black, prime with black. -If with green, let that be the color of all the preceding coats. If -with blue, let that color be the ground work. What can be more stupid -than applying to work which is to be finished in imitation of black -walnut a priming coat of white? All work should be primed especially -with regard to the finishing color. - -There is not half enough of dark colors used in priming applications. -Venetian red, finely ground in boiled oil, deeply stained with -black--and used very thin, 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 wood. The succeeding -coats should be as dark as may be with a view to the proper shade of -ground-work for the graining. In such case, if (as must happen in the -ordinary course of events) the work becomes bruised or “chipped”--by -an accidental knock from a chair leg or other article of house -furniture--the general appearance of it is little impaired thereby. -Quite the contrary, however, is the case if the underneath coats are -white. Then, an accident of the kind before mentioned, shows a white -spot, which staringly proclaims the work to be a delusion and a sham. -Dark colors, too, as the Venetian red before mentioned, make better -foundations than white lead or zinc. They dry harder and “rub” better, -and, what is most important, cost less. - -This matter having been duly considered, let us now proceed to the -coats succeeding the first. Before applying a second coat, the -first should be carefully rubbed, and all the nail-heads and other -indentations carefully stopped with pure linseed-oil putty--using -for flat surfaces a square-bladed putty-knife. Puttying with the -fingers should never be tolerated (good work is now the subject under -consideration). This done, the whole should be carefully examined -to ascertain if the oil in the former coat shall have revealed any -resinous or pitchy spots, not previously covered with the shellac. -These preliminaries being attended to, the work may be considered -ready for a second coat. The directions as to rubbing with sandpaper -are to be observed in all the succeeding coats. As a rule, on interior -work, paint should never be applied to a surface which has not been -previously rubbed. - -Sandpaper for fresh work and pumice-stone for old work. Always distrust -the education of a painter in his trade who goes to work without a lump -of pumice-stone, a sheet of sandpaper, a putty-knife, and a rag to wipe -off the spatters--sparks, as the Irish not inaptly call them. Apropos -of spatters! Every painter has seen (the result too of unpardonable -negligence) plates of glass so covered with spatters, that to remove -them would require more time than would serve to paint the woodwork of -a “full-trimmed” window. - -In priming work which is to be finished in oak, finely-ground French -ochre is recommended. The objection to this pigment, that it does -not work smoothly and easily under the brush, has arisen from its -coarseness. Finely ground in boiled oil, it works as smoothly as white -lead, and makes an excellent foundation for the succeeding coats. - -For walls the first coat should be as dark in shade and as thin as -practicable, the object being to stain the plaster as much as possible. -Indeed, if the whole mass of plaster could be stained through and -through, it would be desirable to so stain it. - -The use of glue in wall painting is of doubtful propriety. It should -never, under any circumstance, be put on until after the second coat, -and then rubbed on with a rag, very lightly. In first-class work, -however, its use is not recommended. - -Plaster mixed with weak glue-size--which prevents its setting too -rapidly--is the best material for stopping walls preparatory to -painting, and each coat of paint should be carefully rubbed with worn -sand-paper, before the succeeding coat is put on. For preparing walls -a small pocket-trowel will be found a most serviceable tool, or a -trowel-shaped putty-knife, which article has come into general use. - -The preparation of ceilings for whitewashing (or kalsomining as this -operation is sometimes pretentiously called) is an operation requiring -some skill and knowledge of “how to do it.” A dirty ceiling, which has -been subjected to successive coats of whitewash, whether of lime, or -of whiting and glue-size, cannot be made solidly and smoothly white by -additional whitewashing. The mass has become spongy, and sucks up the -water so quickly that the material cannot be evenly distributed. In -such case the only way is to begin anew, to go at once “down to hard -pan” by removing all the previous applications by washing and scraping. -This is best effected with a broad-bladed square-pointed putty-knife, -keeping the ceiling wet meanwhile. Plaster (hard-finish) is not of -uniform density, and some spots are much more absorbent than others. To -remedy this a mixture of soft soap and alum, dissolved in water, should -be applied with a broad kalsomine brush. - -It is not assumed that mere verbal instructions can teach the art of -whitening or tinting walls and ceilings in water-colors. To produce -good results, great skill in preparing the materials and dexterity in -manipulation are required; and such work should be intrusted only to -competent hands. A mass of unsuitable material may be cheaply put upon -a ceiling; but when the same shall require repainting, the cost of -labor will be greater in removing the previous coating, than will be -the whole cost of repainting. These remarks, too, apply equally to all -kinds of painting; and reference is made to the whitening and tinting -of ceilings only, because of the general impression that this kind of -work may be performed by anybody. - -The materials and tools used in painting are too costly to wasted and -worn by incompetent handling. “Painting just to keep the gardener or -hostler out of idleness,” will prove in most cases a left-handed -economy. Such experiments are prudent only when the services of skilled -workman cannot be obtained. - -=Taste in Color.=--In rooms to be lived in, simple white for color -of walls and paint, as well as any extremely dark treatment, should -be avoided. The walls of rooms should be such backgrounds as will -best suit the complexions and dresses of the larger number of people. -Delicate white intensifies by contrast any unpleasantness or want of -perfection; extreme dark would make people look white and ghastly. -Neutral colors will be found the best--generally some grey or cool -color that will contrast with warmth of complexions. On no account let -an absolutely pure color be used for general surfaces. Nature provides -no such color in pigments. Her yellows are greenish or reddish, and -so on. Nor does she use it to any extent in inanimate nature. So much -so that you will find that if you have much difficulty in describing -a color, you may be certain it is good; the more difficulty the more -beauty. Nature trusts mainly to gradations of tone, using vivid color -in small quantities only, as in the touches on bright flowers and -butterflies. This teaching of nature will be found seconded in the -pictures of the greatest artists, and in following such teaching, it is -necessary to consider the object to which (in domestic work, say) the -rooms are to be devoted. A drawing-room, it is agreed, should be light, -festive and gay; dining-room at once more sober, and with more depth -and warmth, as befits its uses. You must also consider the light and -shade; openings, and the positions of them; for these may (or may not) -effect for you contrast of tone, and may even touch the question of the -good sense of your whole scheme of decoration. - -In a lecture delivered before the British Architectural Association, -on this subject, the lecturer suggested that in the treatment of a -drawing-room the walls should be a light neutral grey, fawn color, -or pale green (not dark, but not white). Dados are suitable for all -rooms, even drawing-rooms. They may be made of wood, painted as the -room doors, or of stamped leather, or of the French paper imitations -of stamped leather. A frieze does not interfere with the heads of -sitters, and adds much interest if it has its sentiment or story. If -flowers form part of your decorations, have no relief, no imitation -of nature’s light and shade. A wall must be a wall; if, neglecting -this, you introduce illusions to the eye, the sense of solidity will -not be suggested. The Japanese decorate on correct principles, with -truth to the idea derived from nature, and truth in art, adaptation of -representation to materials and method. As regards the woodwork there -should be no graining anywhere; its aspect, however well executed, -is repulsive. Real woods are always beautiful. Plain painting may be -darker or lighter than the general wall surfaces; both will look well. -The doors may have stencilled decorations in angles of panels; birds or -butterflies, or plants, or any beautiful natural objects will supply -motives. The ceilings should rarely be wholly white, except of halls or -where the light is defective. Papered ceilings look well. The use of -gold is generally satisfactory; it reflects a warm tone on everything -below. Put a good amount of color on a ceiling--not, however, making it -so dark as to bring it too close to the eye. The carpet must be either -lighter or darker than the walls. This is following out the artist’s -rule, to make either background or foreground run into the figure. If -this is not done in painting, a woman in white satin, for instance, -against a dark floor and dark walls, will look like a cut-out figure -stuck on, and the same sort of result would occur in rooms. As in -ordinary life dresses are dark in color, where a light wall tone has -been recommended, the carpet will have to be darker than the walls. Not -too vivid in color, however, and of course, no flowers, ferns, birds’ -nests, and such like fearful things. _Furniture and hangings_ should -not be too much alike in color; have, say, the carpet one tone, the -coverings of the furniture another, and the curtains and other hangings -a third. Have summer and winter hangings and furniture coverings; those -for the former light and cheerful, the others with more warmth, and -suggestive of comfort and home life. A table-cloth, occasional chair, -or a rug, may supply a bit of effective contrast with prevailing hues -of hangings, etc., and a spot of vivid color in a vase or some small -hanging will complete the formal decoration of the room. - -=Graining.=--The art of imitating the grain of the more expensive -woods has been brought to a great degree of perfection, but of late -years so many unskilled workmen have undertaken to imitate the natural -grain of wood with such imperfect results, that this beautiful branch -of painting has fallen into partial disuse. A few remarks, therefore, -to the uninitiated may not be inappropriate in this work. Mahogany, -satinwood, rosewood, mottled and walnut roots, maple, and some -others, are frequently imitated; and it is seldom that a house is -finished without some graining being introduced. The imitation of the -above-mentioned woods are best performed in ground distemper (water -colors) which are always preferable and more economical purchased -ready prepared. Oak, chestnut, ash and similar long-grained woods, are -best executed in oil-color, particularly for outdoor work. For drawing -rooms, delicate party colors are preferable, as they harmonize better -with the neutral tints on the walls or delicate tinted papers. The -process of graining is very simple. To be an accomplished grainer, -practice and an artistic taste is very necessary. Too frequently -the imitation is overdone, the shading too deep and obtrusive, and -the work made too glaring with figure and varnish, has an unnatural -appearance; a grainer should always avoid attempting to over-do nature. -The following is an approved method:--The surface on new wood should -be prepared with three coats of oil paints for the ground color, and -regulated in shade by the color of the wood to be imitated, making due -allowance for the graining tint that is to cover it. The ground colors -should always be perfectly dry before the graining is commenced. The -painter then preparing small quantities of the colors he requires, -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 grain. Some grainers use rubber instead. We cannot here explain -all the different processes for the imitation of the grain of wood. -Many painters have a method of their own, which from long practice -produce excellent results. In some cases, graining in distemper may -be adopted with great success for indoor work, and if the colors are -put on thin, so that the varnish will penetrate through into the -ground color, this kind of graining is as durable as oil-color, and is -susceptible of being made far more beautiful, and soft looking in the -imitation of mottled woods. For blending distemper colors, a badger’s -hair blender should be frequently used to soften down and blend the -tints where necessary; but for blending oil-color, in order to produce -an elongation of the grain, we have found a flat varnish brush, kept -moderately damp and clean, preferable to the badger’s hair. When the -work is dry, the shades necessary for some woods should be laid on -in distemper-color (some use thin oil-colors) and then covered with -two coats of good oil varnish. Common varnish should never be used on -outside work. - -=Oak Graining.=--In oak graining the color is made in the following -manner:--Procure some finely-ground burnt umber and raw sienna (or -Vandyke brown and raw sienna if a dark oak be required), and thin -with equal parts of linseed oil and turpentine. Add a large quantity -of patent dryer to make it stand the comb. The color is now ready -for use. The graining color is brushed over the work in the ordinary -way with a pound brush, care being taken not to put too much color -on, else it is liable to look dirty. A dry dusting brush is now used -to stipple with, which, if properly done, will distribute the color -evenly. It is now ready for combing. First take a medium or coarse-cut -gutta-percha comb, and draw it down one side of the panel, then use a -finer one to complete it. This comb will leave the marks of the grain -in clear unbroken lines from top to bottom of the panel. We now take -a fine steel comb and go over the whole of the previous combing; but -in drawing this comb down, we either move it in a slanting or diagonal -direction across the previous combing, or draw it down with a quick and -short wavy motion and curl. Both the former and latter motions will -break up the long lines left by the gutta-percha comb into short bits, -which, of course, represent the pores or grains of the real wood. Next -take out the lights of figuring or veining. This is effected by means -of a piece of washleather, held tightly over the thumb nail. Every time -a few lights are wiped out the leather should be moved slightly, so -that the same part of the leather will not be used twice, thus ensuring -clean work. There are various methods of doing this, but they require -much more practice. When the figures are all wiped out they will -require to be softened. By softening we mean the imitation of those -half shades seen upon and about the figures in the real wood. These -are imitated by doubling a piece of washleather into a small roll, -and with the side of this the grain is partly wiped away or softened. -Care should be taken not to wipe off the whole of the grain. If the -operator has a piece of the real wood to look at occasionally he will -be materially assisted. As soon as the oil color is dry it should be -over-grained. This is effected in water color. Next go over the work -with a bit of sponge and soap to prevent it “cissing.” Before laying -on the over-graining, wash out the sponge and wipe the work. It is now -ready to receive the color. Grind up finely a little vandyke brown in -water, and dilute it with table-beer and water. It is then ready. Take -a flat hog-hair brush, 3 in. to 4 in. wide, dip it in the color and -draw it over the work, in most cases in the direction of the combing, -but occasionally crossing. The hair of the brush, being thinly placed, -will separate into patches, and hence the color will be deposited in -streaks, resembling the natural gradations which the wood presents. If -you have not a brush of this kind a sponge may be used to put in the -streak and to soften off. Then dry varnish in the usual way. - -=Spirit Graining for Oak.=--2 lbs. whiting, ¹⁄₄ lb. gold size, thinned -down with spirits of turpentine, then tinge your whiting with vandyke -brown and raw sienna ground fine. Strike out your light with a pitch -or piece of rubber dipped in turpentine, tinged with a little color -to show the lights. If your lights do not appear clear, add a little -more turpentine. Turpentine varnish is a good substitute for the above -mentioned. This kind of graining must be brushed over with beer with a -clean brush before varnishing. Strong beer must be used for glazing up -top graining and shading. - -=Old Oak in Distemper.=--To make an exceedingly rich color for the -imitation of old oak, the ground is a composition of stone ochre or -orange chrome and burnt sienna; the graining is burnt umber or vandyke -brown, to darken it a little. The above colors may be used for oil as -well. - -=Pollard Oak.=--Ground color, a mixture of chrome yellow, vermilion -and white lead, to bring it to a rich light buff. The graining colors -are vandyke brown and small portions of raw and burnt sienna and lake, -ground in beer or vinegar. Fill a large brush with color and spread it -over the surface to be grained, and soften with a badger hair brush. -Take a moistened sponge and dapple round and round in kind of knobs, -then soften very lightly, after which draw a softener from one set of -knobs to the other while wet, to form a multiplicity of grain, and -finish the knobs with a hair pencil, in some places in thicker clusters -than others. When dry, put the top grain on in a variety of directions, -and varnish with turpentine and gold size; then glaze up with vandyke -and strong beer. Finish with copal varnish. This is for distemper only. - -=Mottled Mahogany.=--The ground is prepared with the best Venetian red, -red lead, and a small proportion of white lead. The graining colors are -burnt sienna, ground in beer, with a small portion of vandyke brown. -Cover the surface to be grained, soften with a badger hair brush, and -while wet take a damp sponge and go over the lights a second time, in -order to give a variety of shade; then blend the whole of the work with -the badger softener. Put the top grain on with the same color. When -dry, varnish. For distemper only. - -=Rosewood.=--Mix vermilion and a small quantity of white lead for the -ground. Take rose-pink, tinged with a little lamp-black or vandyke -brown, and grind very fine in oil, then take a flat graining brush, -with the hairs cut away at unequal distances, and cut down the grain as -if wending round a knob. When nearly dry, take a graining comb that is -used for oak, and draw down the grain. This will give it the appearance -of nature. Then varnish. This makes an excellent and durable imitation. - -=Another for Rosewood.=--This ground is prepared with vermilion and -small quantities of white lead and crimson lake. When the ground is -dry, and made very smooth, take vandyke brown, ground in oil, and -with a very soft tool spread the color over the surface in different -directions, forming a kind of knots. Before the work is dry take a -piece of leather, and with great freedom strike out the light veins; -having previously prepared the darkest tint of vandyke brown or gum -asphaltum, immediately take the flat graining brush with few hairs in -it, called a top grainer, and draw the grain over the work and soften. -When varnished, the imitation will be excellent. - -=Curled Maple in Oil.=--Prepare a rich ground by mixing chrome yellow, -white lead and burnt sienna. For the graining color, grind equal parts -of raw sienna and umber with a little burnt copperas and turpentine, -and mix it with a small quantity of grainer’s cream, thin the color -with oil; then fill a tool and spread the surface even and rub out the -lights with sharp edge of a piece of buff leather, wiping it frequently -to keep it clean; soften the edges of the work very lightly, and when -dry, put on the top grain with burnt umber and raw sienna ground in -beer with the white of an egg beat into it. Varnish. - -=Curled Maple in Distemper.=--Prepare a light yellow for the ground, -by mixing chrome yellow and white lead, tinged with Venetian red. The -graining color is a mixture of equal portions of raw sienna and vandyke -brown, ground in beer. Spread the surface to be grained in an even -manner; then with a piece of cork rub across the work to and fro, to -form the grains which run across the wood; soften, and when dry lightly -top grain with the same color. Varnish. - -=Bird’s Eye Maple in Oil.=--The ground is a light buff, prepared with -white lead, chrome yellow and a little vermilion or English Venetian, -to take off the rawness of the yellow. The graining color is equal -parts of raw umber and sienna, ground in oil to the proper consistency. -Spread the surface of the work with this color, and having some of the -same prepared a little thicker, immediately take a sash tool or sponge -and put on the dark shades, and soften with a badger hair brush; before -the color is dry put on the eyes by dabbing the dotting machine on the -work, or by striking the colors short and sharp with the tips of the -fingers, then blend slightly the eyes in one direction only. When dry, -put on the grain with the camels hair pencil on the prominent parts to -imitate the small hearts of the wood. The same graining colors to be -ground in here for distemper. - -=Walnut in Oil.=--The ground is formed with ochre, Indian red, umber, -and white. The graining coat is similar to that described under the oak -heading, and is prepared with vandyke brown; and for the darker shades, -fine ivory-black; the wiping out and blending to resemble that in -mahogany; the fine dark veins of ivory-black to be lightly and wavily -drawn over the work after it is blended. It is then ready for the -varnish. - -=Satin-wood in Distemper.=--This ground is prepared with white lead, -stone ochre and small quantities of chrome yellow and burnt sienna. The -graining color is one-third of raw sienna and whiting, ground in pale -ale, very thin; then spread the color over the surface to be grained. -While wet soften, and have ready a wet roller or mottling brush, in -order to take out the lights; blend the whole with the badger hair -brush, and with the same color put on the top grain. Varnish. - -=To Imitate Granite in Oil.=--For the ground color, stain your white -lead to a light lead color, with lamp-black and a little rose-pink. -Throw on black spots with a coarse brush or graniting machine. A pale -red also, and fill up with white before the ground is dry. - -=Another for the Same.=--A black ground; when half dry throw in -vermilion, a deep yellow, and white spots. - -=Marble.=--For _White Marble_, get up a pure white ground, then hold -a lighted tallow candle near the surface, and allow the smoke to form -the shades and various tints desired. This will make a very handsome -imitation. _Black Marble._--Imitation is made by streaking a black -surface with colors, using a feather and pencil. Another plan is to -get up a smooth black surface; then take the colors, green, yellow, -red, white, etc., ground thick in gold size, and streak the surface -with a stick or hair pencil. Allow it to dry, and apply a heavy coat -of lamp-black and yellow ochre mixed, mixed rough stuff. When all is -hard, rub down to a level surface with lump pumice-stone, varnish and a -beautiful variegated marble will be the result. - -=Red Marble.=--For the ground put on a white tinged with lake or -vermilion; then apply deep red patches, filling up the intermediate -spaces with brown and white mixed in oil; then blend them together; if -in quick drying colors, use about half turpentine and gold size. When -dry, varnish, and while the varnish is wet, put in a multitude of fine -white threads, crossing the whole work in all directions, as the wet -varnish brings the pencil to a fine point. - -=Jasper Marble.=--Put on a white ground lightly tinged with blue; then -put on patches of rich reds or rose-pink, leaving spaces of the white -ground; then partly cover these spaces with various browns to form -fossils, in places running veins; then put in a few spots of white in -the centre of some of the red patches, and leaving, in places, masses -nearly white. When dry use the clearest varnish. - -=Blue and Gold Marble.=--For the ground color put on a light blue; -then take blue, with a small piece of white lead and some dark common -blue, and dab on the ground in patches, leaving portions of the ground -to shine between; then blend the edges together with a duster or a -softener; afterwards draw on some white veins in every direction, -leaving large open spaces to be filled up with a pale yellow or gold -paint; finish with some fine white running threads, and a coat of -varnish at last. - -=Black and Gold Marble.=--This description of marble is very chaste, -and is in great demand. The ground is a deep black, or a dead color, -in gold size, drop black and turpentine; second coat, black japan. -Commence veining; mix white and yellow ochre with a small quantity of -vermilion to give a gold tinge; dip the pencil in this color, and dab -on the ground with great freedom some large patches, from which small -threads must be drawn in several directions. - -In the deepest part of the black a white vein is sometimes seen running -with a number of small veins attached to it, but care must be taken -that these threads are connected with and run, in some degree, in the -same direction with the thicker veins. If durability is not an object, -and the work required in a short time, it may be executed very quickly -in distemper colors, and when varnished, it will look well. - -=Compound Colors.=--The following tints can be formed by mixing the -colors as below. The shades can be made to suit any taste by the -exercise of a little judgment in proportioning the colors: - -_Cream._--White lead, yellow and red. - -_Drab._--White, Prussian blue and vermilion. - -_Fawn._--White, stone ochre and vermilion. - -_Flesh._--Lake, white lead, and a little vermilion. - -_Grey_, Pearl--White lead, Prussian blue, and a very little black. - -_Grey_, Flaxseed.--White lead, Prussian blue, and a little lake. - -_Gold._--Massicot, or Naples yellow, with a small quantity of Realgar -and Spanish white. - -_Green_, Light willow.--White, mixed with verdigris. - -_Green_, Grass.--Yellow pink with verdigris. - -_Green_, Pea.--White lead and chrome or Paris green. - -_Green_, Dark.--Black and chrome green. - -_Green_, Olive.--Prussian blue and French yellow; mix to the tints -required. This is a cheap and handsome color for outside work, such as -doors, carts, wagons, railway cars, etc. - -_Jonquil._--Yellow, pink and white lead. This color is only for -distemper. - -_Lead._--Prussian blue and white, with a light shade of white. - -_Olive._--For distemper, use indigo and yellow pink mixed with whiting -or white lead powder. - -_Olive._--Red, green, or black and yellow. - -_Pearl._--White lead, Prussian blue and red. - -_Purple._--Dark red mixed with violet. - -_Purple._--White, Prussian blue and vermilion. - -_Red_, Dark.--English Venetian, red lead and litharge. - -_Red_, Light.--Venetian red, and red lead in equal parts. - -_Red_, Deep.--Vermilion, with a very small quantity of red lead. - -_Stone._--White, with a little spruce ochre. - -_Straw._--White lead and yellow. - -_Snuff._--Yellow, sienna and red. - -_Slate._--White lead, black, red and blue. - -_Steel._--Ceruse, Prussian blue, fine lac and vermilion. - -_Salmon._--White lead, yellow and red. - -_Walnut._--Tree color; two-thirds white lead and one-third red ochre, -yellow ochre and umber, mixed according to the shade sought. If veining -is required, use different shades of the same mixture. (See article on -graining). - -_Yellow_, Light.--French yellow and white lead. A little red lead may -be used. - -_Another._--French yellow, white and red lead. - -_Another._--A mixture of a small portion of Prussian blue, French -yellow, white lead and Turkey umber and burnt vitriol, or litharge, -will produce different shades of yellow, according to the preponderance -of one of the above colors. - -_Yellow._--Bright for floors, white lead, French yellow, chrome yellow -a little, some red lead and litharge; mix with equal parts of boiled -oil and turpentine and use it thin. - -_Yellow_, Dark.--French yellow and a little red. - -_Yellow_, Lemon.--Yellow pink, with Naples yellow. For distemper only. - - - - -MISCELLANEOUS RECEIPTS. - - -=For Iron.=--A good paint for preserving iron exposed to the weather, -is made as follows: - -Pulverized oxides of iron, such as yellow and red iron ochres, or brown -hematite iron ores, finely ground, and simply mixed with linseed oil -and a dryer. - -White lead applied directly to iron is thought to have a corrosive -effect. It may be applied over more durable colors. - -Red lead, when pure, is very durable. An instance is recorded of iron -painted with it having been under water for nearly 50 years, and had -not been affected by rust. - -Sheet iron, before being used for roofs or other outside purposes, -should be heated and dipped into hot linseed oil, which will penetrate -into it. Tinned iron in roofs has been found to corrode quicker than in -former years, owing to the more general use of coal. - -=Paint for Rusty Iron.=--Black Japan varnish, mixed with turpentine, -to make it thinner if necessary, is one of the best preventatives; but -the iron must be dry when you put it on. If you can warm the iron when -painting it, so much the better. If not sufficiently opaque, you may -put in dry finely pulverized paint, such as lamp-black. Red lead, with -linseed oil is also a good paint for rusted iron; so are the mineral -reddish-browns which consist of oxide of iron; they become very hard, -and are used for the iron-work of the elevated railroads in this city. - -=To Paint on Stucco.=--Great care is required in painting upon -stucco, for the work must not only be thoroughly dry, but free from -any liability of dampness; that is to say, the walls themselves must -be dry. It is, consequently, usual to allow the stucco to remain for -several months before it is painted; and this is especially necessary -when it covers over a large surface, as in the walls of churches, -chapels and theatres. If the paint be applied too soon, the work will -have a blotched appearance, and be probably filled with small vesicles, -formed during the evaporation of the water. When the work is dry, it -may be prepared by covering it with a coat of linseed oil, boiled -with dryer. This must be laid on very carefully, or the face will be -irregular. The color may then be applied, and four coats will not be -too much, the work being new. Persons are generally so anxious to have -their buildings finished, that they disregard the future appearance of -the work, and within a few weeks after the application of the stucco, -cover it with paint. But it would, in all cases, be sufficient to wash -the surface with distemper, as it would give a finished appearance to -the building, and make it less necessary to hurry the work. When the -work is sufficiently dry to receive the oil-colors the distemper color -should be removed by washing, and when the stucco is dry apply the -oil-color. The tints may be regulated by mingling different colors, as -in all other kinds of painting. - -Plastered walls should not be painted until they are thoroughly dry, -and all settling in a new house has taken place. If painted too soon -they will blister. - -Unseasoned wood should never be painted, as it stops the pores of the -wood and the sap acidulates, causing dry rot. Greasy surfaces must be -washed with water mixed with lime or soda, otherwise the paint will not -adhere to it. - -=Mixing Quick Drying Paint.=--Venetian blinds should be painted to dry -dead, then varnish; but few take this trouble. Mix the paint as under: -White lead, boiled oil, and the least drop of turps; mix sufficient -of each to form a creamy mixture; then add about 1 oz. patent drier -to each 1 lb. of paint. If you want the paint darker use enough burnt -umber to give the required tint. If you want to varnish, omit the oil -and use turps. - -=Transparent Paint for Glass.=--Take for blue pigment, Prussian blue; -for red, crimson lake; for yellow, Indian yellow; and for other shades, -a mixture of the appropriate primary colors. Rub them in a size made -as follows: Venice turpentine, 2 parts; spirits of turpentine, 1 part, -and apply with a brush. The colors are moderately fast unless exposed -too long to direct sunlight. A solution of the various aniline dyes in -shellac varnish has also been recommended. - -=Gilding.=--Gold leaf is the only successful application. First put -on a coat of Japan gold size, and when that is “tacky,” and nearly -dry, lay on the gold-leaf and dab it with a small tuft of cotton-wool. -Where you buy the gold-leaf you can buy a gilder’s tool for applying -it; but in order to get a smooth surface it must (when perfectly dry) -be burnished with an agate burnisher, which you will also get at the -color-shop, but you will not be able to burnish gold-leaf on the bare -wood. You can, if you like, varnish with pale copal varnish. - -=Gilding on Glass.=--Glass letters are gilt the same way as you would -a name on a glass door. You can easily get a good burnish if you take -a little trouble. Get some of the best cotton wool at a chemist’s, and -well polish the gold with it; the gold must be thoroughly dry. Then go -over it with your size boiling hot; do not touch the same place twice -with the brush, or you will bring the gold up; repeat the process three -or four times, being sure to have your gold dry each time, the hotter -the size the brighter will be the burnish; be careful, however, and not -break the glass with the heat. - -=Gilding Fretwork, etc.=--The first thing to be done is to whiten the -work. To do this scrape some whitening very fine, place it in a pipkin -with a lump of gilder’s size, and water sufficient to make it of the -consistency of thick cream, when heated over a fire; then, with a -camel-hair pencil, paint it on the object several times, allowing -each coat to dry before applying the next. When the several coatings -have raised it to the thickness of ¹⁄₁₆ in., set it aside for twelve -or more hours, to harden; when hardened, smooth the surface with very -fine sandpaper first, and finally with a piece of cork; when using -the cork frequently dip it in water, and, when practicable, use it in -a circular motion. Thus far successful, the next thing is to lay on -the gold. To gild, then, dissolve some gilder’s--not common size--in -water, and heat, and with a full brush lay it on the surface of the -object. Cut the gold leaf, on a pad of buff leather, with a clean -cut of the knife (much easier said than done; perseverance, however, -with the cost of a book or two of gold mutilated, and a large amount -of patience exhausted, will overcome the difficulty), to the size -required; take these up on a tip (a row of long hairs placed between -two bits of cardboard)--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 object, taking care that each -succeeding piece slightly overlaps the preceding. When dry, a small -piece of fine sponge, dipped in a weak solution of size water, should -be gently passed over it to give a uniform appearance. If the bright -gold requires to be deadened, deep ormolu should be used in a similar -way after sizing. The yellow used for the ungilt portions consists of -gilder’s yellow, dissolved in size water, and is put on with a brush. - -=Painting on Gilded Panels.=--There is no preparation needed to paint -in oils on a gilded panel. No mediums are required, the ordinary oil -colors being used unmixed. If required to dry flat and to remain so, -they are mixed with turpentine and left unvarnished. If the shiny look -of oils is to be retained, they are slightly diluted with boiled oil, -and varnish with white hard varnish when dry. - -=Gilding on Wood.=--To gild in oil, the wood, after being properly -smoothed, is covered with a coat of _gold size_, made of drying linseed -oil mixed with yellow ochre; when this has become so dry as to adhere -to the fingers without soiling them, the gold leaf is laid on with -great care and dexterity, and pressed down with cotton wool; places -that have been missed are covered with small pieces of gold leaf, and -when the whole is dry, the ragged bits are rubbed off with cotton. This -is by far the easiest mode of gilding; any other metallic leaves may -be applied in a similar manner. _Pale leaf gold_ has a greenish yellow -color, and is an alloy of gold with silver. Dutch gold leaf is only -copper colored with the fumes of zinc; being much cheaper than gold -leaf, is very useful when large quantities of gilding are required in -places where it can be defended by the weather, as it changes color if -exposed to moisture, and it should be covered with varnish. _Silver -leaf_ is prepared every way the same as gold leaf; but when applied, -should be kept well with varnish, otherwise it is liable to tarnish; a -transparent yellow varnish will give it the appearance of gold. - -Whenever gold is fixed by means of linseed oil, it will bear washing -off, which burnished gold will not. - -=To Gild Letters.=--When the sign is prepared as smooth as possible, go -over it with a sizing made by white of an egg dissolved in about four -times its weight of cold water; adding a small quantity of fuller’s -earth, this to prevent the gold sticking to any part but letters. When -dry, set out the letters and commence writing, laying on the size as -thinly as possible, with a sable pencil. Let it stand until you can -hardly feel a slight stickiness, then go to work with your gold leaf -knife and cushion, and gild the letters. Take a leaf upon the point of -your knife, after giving it a slight puff into the back part of your -cushion, and spread it on the front part of it as straight as possible, -give it another slight puff with your mouth to flatten it out. Now cut -it to the proper size, cutting with the heel of your knife forwards. -Now rub the tip of the knife lightly on your hair; take up the gold -on the point, and place it neatly on the letters; when they are all -covered, get some very fine cotton wool, and gently rub the gold until -it is smooth and bright. Then wash the sign with clean water to take -off the egg size. - -=Sign Writing in Colors, Etc.=--On an oak ground ornamental letters, in -ultra-marine blue, filled in with gold and silver leaf, blocked up and -shaded with burnt sienna. _Another._--Gold letters on a white marble -ground, blocked up and shaded with a transparent brown or burnt sienna. -_On glass._--Gold letters shaded with burnt sienna. _Another._--Gold -letters shaded with black on a _scarlet_ or _chocolate ground_. On a -rich _blue ground_ shaded with black, look very well. _On a purple_ -ground, pink letters shaded with white. Mix ultra-marine and vermilion -for a ground color, white letters shaded with grey. _Vermilion -ground_, chrome yellow stained and vermilion and lake, for the letters -shaded with black. - -A substitute for the above colors: Rose-pink and red lead; and for the -letters stone yellow, white lead and Venetian red. Mix your colors for -writing in boiled oil, and use for dryer gold size. Other good grounds -for gold letters are, blues, vermilion, lake and Saxon. When your sign -is ready for gilding, follow the directions under the head “_To Gild -Letters on Wood_.” - -=Gilder’s Size.=--Drying or boiled linseed oil, thickened with yellow -ochre, or calcined red ochre, and carefully reduced to the utmost -smoothness by grinding. It is thinned with oil of turpentine. - -=Staining Wood a Dull Black.=--The work required to be stained should -be colored with drop-black and size. When this is thoroughly set it -should be papered off and colored again, and then be papered off again. -The polish should also be stained with drop black and a little indigo. -Next polish to a perfect surface, and let it set. After the wood has -absorbed all the polish possible, polish again, and dull it with the -finger dipped in fine emery; a fine metallic surface will thus be -obtained. - -=Staining Floors.=--The best and cheapest and only permanent stain -for floors is permanganate of potash. Buy it by the ¹⁄₄ lb., and at -a wholesale chemist’s; mix about ¹⁄₄ oz. in a quart of water. Apply -freely and quickly to a dry floor with either cloth or brush, the -latter if you care for staining your hand. Repeat the process for -a very dark oak color; when dry, oil with burnt oil or beeswax and -turpentine; you cannot wash this color out. Benson’s stain is only -permanganate of potash. At first for a few moments the color is bright -magenta, but this at once changes to a dark permanent brown. For fifty -cents a whole house may be stained. - -=Varnishing Wood.=--After smoothing wood with veneer scraper, brush on -thick coat of shellac varnish; then use fine sandpaper, No. 0. Do this -three times for close grained woods, such as black cherry, and four -times for porous wood, such as chestnut. Have two dishes. Into one put -finely ground pumice; into the other raw or boiled oil. Apply a mixture -of these with a piece of hair-cloth or broad-cloth. Don’t rub too hard. -Finish up with rotten stone, which will remove pumice and oil. Above is -a good dead varnish. _Another._--Take encaustic wax, heat, and apply -with a cork; rub in well, brush on thin coat shellac varnish, finish -with pumice and oil. - -=Solvent for Old Putty and Paint.=--Soft soap mixed with a solution -of potash or caustic soda, or pearlash and slaked lime mixed with -sufficient water to form a paste. Either of these laid on with an old -brush or rag, and left for some hours, will render the putty or paint -easily removable. _Another._--Slack three pounds of stone quicklime in -water, then add one pound of pearlash, and make the whole about the -consistence of paint. Apply it to both sides of the glass, and let it -remain for twelve hours, when the putty will be so softened that the -glass may be easily taken out of the frame. _Another._--Break the putty -up in lumps the size of a hen’s egg, add a small portion of raw linseed -oil, and water sufficient to cover the putty, boil this in an iron -vessel for about ten minutes and stir it when hot. The oil will mix -with the putty, then pour the water off and it will be like fresh made. -For removing hard putty from a window sash take a piece of square iron, -make the same red hot, and run it along the putty till it gets soft. -The putty will peel off without injuring the wood work. - -=Wash for Outside Work.=--For woodwork slake half a bushel of fresh -lime, by pouring over it boiling water sufficient to cover it 4 or 5 -inches deep, stirring it until slacked; add 2 lbs. of sulphate of zinc -(white vitrol) dissolved in water. Add water enough to bring all to the -consistency of thick whitewash; it may be colored by adding powdered -ether, Indian red, umber, etc. If lampblack is added to colors, it -should first be thoroughly dissolved in alcohol. The sulphate of zinc -causes the wash to become hard in a few weeks. - -=Another for Brick, Masonry, and Rough-cast.= Slake half a bushel -of lime as before; then fill a barrel ²⁄₃ full of water, and add a -bushel of hydraulic cement. Add 3 lbs. of sulphate of zinc previously -dissolved in water. The whole should be of the thickness of paint. The -wash is improved by stirring in a peck of white sand, just before using -it. It can be colored as before described. - -=French Polish.=--Coat with one or more coats of shellac and rub down -smooth; make a rubber by rolling up a piece of flannel about 3 or 4 -inches wide until it is about 1¹⁄₂ inches in diameter, and tie it round -with cord. Lay the end of the rubber on the mouth of a thin necked -bottle and apply the varnish to it, having previously shaken up the -contents in the bottle; then enclose the end of the rubber with a piece -of soft linen doubled, and moisten the face of the linen with a little -raw linseed oil. - -Pass the rubber with a quick, light and circular motion over the -surface until the varnish becomes dry, or nearly so, and charge the -rubber again with varnish until 3 coats have been laid on, when a -little oil may be applied to the rubber and two more coats laid on. In -the finishing coat wet the inside of the cloth with a little alcohol, -and rub quickly and lightly over the whole surface. Lastly wet the -linen cloth with a little oil and alcohol without varnish, and rub as -before until dry. - -The varnish is the usual preparation of shellac. See cabinet maker’s -varnish. - -=Wood Filling Composition.=--Boiled linseed oil, 1 qt.; turpentine, -3 qts.; corn starch, 5 lbs.; Japan, 1 qt.; calcined magnesia, 2 oz.; -mix thoroughly. _Another._--Whitening, 6 oz.; Japan, ¹⁄₂ pt.; boiled -linseed oil, ¹⁄₂ pt.; turpentine, ¹⁄₂ pt.; corn starch, 1 oz.; -mix well together and apply to the wood. Add coloring if required. -_Another._--Linseed oil, 1 qt.; spirits of turpentine, ¹⁄₂ pt.; lime, -the size of a base-ball, broken fine. Let the mixture simmer on a -stove, covered over, for two or three hours, then strain through a -coarse cloth. It is to remain on 24 hours, then rub off with a woolen -cloth and polish. - -=German Filling.=--Fill the pores with raw tallow and plaster of Paris -well amalgamated before a fire in cold weather. Darken, if required, -with any coloring to suit. When well rubbed in give a coat of shellac -and French polish or varnish. - -=Polish for Walnut Wood.=--Mix with two parts of good alcoholic shellac -varnish, one part of boiled linseed oil, shake well, and apply with a -pad formed of woolen cloth. Rub the furniture briskly with a little of -the mixture until the polish appears. - -=Rules the Painter Should Observe.=--Never eat or sleep without washing -the hands and face and rinsing the mouth. Keep the buckets, brushes, -etc., clean, so that they may be handled without smearing the hands. -Never sleep in a paint shop nor in a newly painted room. Never allow -paint to accumulate on the clothing or finger nails. Never wash the -hands in turpentine, as it relaxes the muscles and injures the joints; -any animal oil or even linseed oil is better. Never drink water that -has stood any length of time in a paint shop or newly painted room. -Never use spirituous liquors as it unites with the mineral salts and -tends to harden them and causes inflammation of the parts where they -concrete. Milk, sweet oil and the like should be used freely, as they -tend to soften the accumulated poisons and carry them off. Vinegar and -acid fruits used constantly, unite. - - - - -PAPER-HANGING. - - -The art of putting on, or “Hanging” paper is very simple, and is easily -learned; but to make a tasteful choice of paper for various situations, -is not so easy, hence the following remarks, which may be of service to -the workman or others on whom the selection of paper may devolve. - -Walls to a room should be regarded only in the light of a frame-work -to what the room contains, and should be decorated so as to bring into -prominence and not eclipse the other parts of the chamber. Nothing -destroys the effect of a room so much as a handsome but staring wall -paper, or a wall so profusely ornamented as to strike upon the eye to -the exclusion of the rest of the decorations, thus bringing forward -what should be the background into the most conspicuous place. A -modern drawing room is always difficult to decorate artistically, -because of the taste of its builders for heavy cornices, prominent -mantelpieces, and rooms too lofty for their size; and as all these -misnamed “embellishments” are too costly to remove by tenants, the only -plan to pursue is to destroy their effect by exercising both taste and -ingenuity. First, with regard to the ceiling, the ornamental plaster -boss in its center should be removed, and the ceiling tinted a color -that harmonizes with the wall paper, as no harmonies can be hoped for -when what produces them is surmounted with the glaring white of an -ordinary ceiling. The tint used must be one that softens into the wall -paper, not one that contrasts; thus, if the tone of the room is that of -a soft grey blue, the ceiling should be a clear flesh pink; or should a -grey gre picked out with black be the chosen color, then it should be -colored a subdued lemon. - -Some people cover their ceilings with a whole colored paper, and border -it with a stencilled pattern representing the thin garlands so familiar -upon Queen Anne decorations, but this is a more troublesome plan than -the simple coloring, which answers all the purpose. The walls, if they -are lofty, require a high dado. These high dados give a look of comfort -and “home” that is absent from the modern high pitched room papered -with one uniform pattern. The dado is divided 3 feet to 4 feet from the -ceiling, 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 -room. When many pictures are to be hung up the lower part of the dado -should be of a whole color, either a whole colored paper or a painted -wall, as pictures are only shown off upon such a background. Where a -whole tint is used for the lower part of the dado, the upper portion -should be decorated with a frieze paper of a good bold pattern, but -of subdued coloring and of tint that harmonizes with the lower. Thus, -the color used about the frieze should be the same as that on the -lower part, but of a lighter shade, intermixed with some other colors -that form a harmonious link between the two shades. Contrasts must -be carefully avoided, but pale pinks, blue and ambers can be blended -together above a subdued grey blue ground. The two portions of the dado -should be joined together with a light wooden (black or brown) railing, -or with a line of paint. - -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 it. This will suit a room where not many -pictures are required, or that is already rather dark. Some part of the -wall should always be in plain color, as the eye requires rest; and no -pattern, however subdued in hue, can give the relief to the mind that -a bit of plain coloring affords, 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 bright. The true theory of effect is to use -but one or two bright colors in a room, and to surround them by soft -and subdued tints that throw up and do not destroy their brilliancy; a -number of bright colors placed together destroy each other, and leave -no impression upon the mind but glare and vulgarity. Having settled -upon your paper and ceiling, have the woodwork and cornice of the room -painted either a shade lighter or darker than the walls, and shroud up -the mantelpiece with curtains, etc., of satin sheeting embroidered with -crewels, and instead of the usual looking glass over the fire-place, -have a mirror surrounded with brackets holding china; or have a black -wooden mantelpiece made with squares of looking glass set in. The -back-ground of your room being thus completed in a manner really to be -a back-ground, your furniture will look twice as well as if it were -stared out of countenance by the walls, and one need hardly add that -all your friends will delight in a room that throws up and brings out -their dresses and faces, instead of killing them by its glaring tints. - -=Operations.=--To prepare the walls, make a size of glue and water, -then give the walls a coat of a very weak solution of the same. To -make a paste, take two pounds of fine flour, put in a pail; add cold -water, and stir it up together in a thick paste. Take a piece of alum -about the size of a small chestnut, pound it fine and throw it into the -paste; mix well. Then provide about six quarts of boiling water and -mix while hot with the paste until the whole is brought to a proper -consistency. This makes an excellent paste, and fit for use when cold. - -=Cleaning Paper-Hangings.=--A very good method to clean paper-hangings -is that used oftentimes in cleaning the margins of prints. Cut into -eight pieces a quartern loaf two days old, and after having swept all -the dust from the paper-hangings, commence from the ceiling downward, -and somewhat lightly rub the paper with a downward stroke with one of -the pieces of bread. Continue this round the room, and then commence -lower down in the same way till the whole of the surface of the paper -has been gone over. The bread will from time to time get dirty, and -it should be cut off as often as required. Care should be exercised -not to rub the paper with a cross or horizontal stroke, only with the -perpendicular movement of the hand or the paper may peel off the walls -from the joints. With careful manipulation, paper will look almost as -good as new. - -=Varnishing Paper-hangings.=--When papers are hung in places where -there is much passing, they are subject to greater wear than in an -ordinary room, and varnishing is resorted to, to make them more -durable, as it prevents soiling; they may also be cleaned with a damp -cloth, and are not in wear so likely to be damaged by rubbing off the -wall. Halls, lobbies, staircases, and offices are sometimes varnished -for durability, but as a rule the appearance is not improved. The paper -must be sized twice, the first being dry before the next is applied, -when the varnish is laid evenly on. It is necessary to size the paper -twice, as the first time may not effectually cover it, when the varnish -would stain the paper as badly as if oil had been applied. The size -necessary for sizing the paper before varnishing should be clean and -transparent. Parchment cuttings boiled down in water and strained will -make excellent size for this purpose. Before it is cold it should be -either strained through calico, or poured off, leaving the bits at the -bottom. A patent size is sold for this purpose, but parchment size is -the most reliable. Use clean brushes for size and varnish. - -=A Paste that will Keep Well.=--A correspondent writes to a journal -this formula for a non-poisonous paste that will keep well in hot -weather: Wheat flour, 1 ounce; powdered alum, ¹⁄₂ drachm; water, -sufficient, or 8 ounces; oil of clove, or wintergreen, 3 or 4 drops. -Rub the flour and the alum with the water to the consistency of milk; -place this over a moderate fire, and stir constantly, until the -paste drops from the wooden paddle in jelly-like flakes, and has the -appearance of glycerite of starch. While the mass is still hot, add the -essential oil, and pour the paste into an earthenware pot or open jar. -In the course of about an hour a crust forms on the top; pour gently on -this an inch of water, more or less. When some paste is wanted, decant -the water, take out the quantity needed, and put some water again on -the remainder, repeating the operation each time. Paste may be kept in -this way for months, and will never be troubled with flies. - - - - -USEFUL HINTS FOR ESTIMATING COST OF WORK AND MATERIALS. - - -All surface painting is measured by the superficial yard, girting every -part of the work covered, always making allowance for the deep cuttings -in mouldings, carved work, railings or other work that is difficult to -get at. - -Where work is very high and scaffolding or ladders have to be employed, -allowances must be made. - -The following rules are generally adopted in this country in the -measurement of work. Surfaces under six inches in width or girt are -called 6 inches; from six to 12 inches, 12 inches; over 12 inches -measured superficial. Openings are deducted, but all jambs, reveals or -casings are measured girt. - -Sashes are measured solid if more than two lights. Doors, shutters and -paneling are measured by the girt, running the tape in all quirks, -angles or corners. Sash doors measure solid. Glazing in both windows -and doors is always extra. The tape should be run close in over the -battens, on batten doors, and if the stuff is beaded, add one inch in -width for each bead. - -Venetian blinds are measured double. Dentels, brackets, medallions, -ornamented iron work, balusters, lattice work, palings or turned work -should all be measured double. Changing colors on base boards, panels, -cornices, or other work, one-fourth extra measurement should be allowed -for each tint. - -Add five per cent. to regular price for knotting, puttying, cleaning -and sand-papering. - -For work done above the ground floor charge as follows: Add five per -cent. for each story of 12 feet or less, if interior work; if exterior -work, add one per cent. for each foot of height above the first 12 feet. - -It is impossible to give prices for painting that will be reliable in -any one section of this country for more than a month, as the cost of -materials and labor is continually varying, but we offer the following -hints, which may assist the workman to make a fairly just estimate of -work: - -For plain colors on wood-- - - First coat, per yard, $-- - 2 coats, add ” 4-5 - 3 coats, ” ” 1¹⁄₂ - -Now, by this rule, if the first coat was 10 cents, two coats would be -18 cents, and three coats would be 25 cents. This is a simple method -and easily understood, and is adapted to any sort of plain painting or -graining. - -Graining, with one or two coats of good varnish, is worth, at this -writing, from 65 cents to $2.00 per yard, and marbling from $1.50 to -$2.75 per yard. - -Marbling mantels is worth from $5.00 to $20.00, according to style of -marble and beauty of finish. All of the above prices are based on the -understanding that the workman furnishes all tools and materials. - - - - -Transcriber’s Notes - -Missing and incorrect punctuation has been fixed. - -Due to space restrictions, the data originally in a remarks column in -the table has been restructured into footnotes in the text version. - -Page 8: “in cold whether” changed to “in cold weather” - -Page 29: The 2 sentences beginning with “The materials and tools used” -are missing words in this and later editions and have been left as per -the original. - -Page 52: “wollen cloth” changed to “woolen cloth” - -Page 54: The sentence beginning with “The tint used” has an incomplete -word in this and later editions and has been left as per the original. - -*** END OF THE PROJECT GUTENBERG EBOOK HINTS FOR PAINTERS, DECORATORS, -AND PAPER-HANGERS. *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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