Escolar Documentos
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Cultura Documentos
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HOUSE-PAINTING,
OARRIAGE-PAINTING
AND
GRAINING.
WITAT TO BO,
AND HO W TO DO
IT.
BY
JOHN W. MASURY.
mi
^''^^
OP
ma
D.
OF WASHIV^3^
3,
AND
BOND STEEET.
1881.
TT
<^^
0^
"^.K^j-
1
^
COPYRIGHT BY
JCIIN W.
MASURY,
1881.
\
c\
^^ \
PEEFACE
The
almost as
common
as
is
the
and windowed
dwellings.
Of the
little
known
as
a rule
^by
trade
it is
known
of the doctrines
Nor, except
is it
knowledge,
necessary
who
ments
but
it
is
know what
materials
will bring
about
to paints
;
and their
which
can or
may
be easily learned
all
and which
to be
it
to procure, or
PREFACE.
The
its
is
beset with
To
a task
it.
To make
:
offered
superficial appearances
processes
common
in house-jDainting,
we speak
of a flat
Now,
word
flat has
no such
sig-
nificance,
and
will not,
per
se,
be impressed.
To
the one of
most
^^
fit
to
is
Greek"
to the learned
and unlearned
alike.
cated,
we make
ourselves to be understood
by the use of
to all learned
scientific terms,
We
speak
call to
sodium
mind
a wonderful
its
metallic base.
Its
he knows from
every-day experience.
of chemical science.
To
the unlearned
its
salt
applica-
To
PREFACE.
audience so mixed and inclusive, we are at a
loss to
know
Tlie
what signs
learned,
to use
which
to the initiated.
learned
may
say:
*^
we would
nevertheless be
It
is
coming in
which
We
propose to
make
so
this
book
entirely practical
so plain, indeed,
man, though a
sive that the
fool,
comprehen-
or
the largest
job of painting,
may so proceed
in the initiatory
expenditure of means.
When we
We
and health,
desirable objects.
That there
of house-painting, we know from the fact that our little volume entitled " How shall we Paint ? " and published in
many
editions,
and
is
yet in de-
mand.
assumed too
PREFACE.
mucli knowledge on the part of the reader, and was therefore not sufficiently practical.
It taught, indeed
;
but
it
names
an extent arbitrary,
The employment
of colors
names
and
tints, en-
hances the
difficulties of
necessary the use of words which have too often only local
meanings.
The word
;
mind
so
and
on, through the whole range of tones wherein the red ray of
light
is
The attempt
will be
made
as are
names of
The
ure,
subject
is
all,
and on
If house-painting consisted of
merely
as a fine art
would
hardly be justifiable
case, that, to
but, so far
in our cities
supposed to
eye
An
prompt by
and
tints
them
as shall best
PREFACE.
with the surroundings
7
requisites in the
are indispensable
It
let
in
and
its
guide.
But the
;
subject
in
aesthetic aspect
to our
homes
but in
portant in preserving
forces
in
excluding dampness
It
is,
and decay.
too,
said
it
by good authority
affords the best
and
to
many
for, just
and out-buildings of
community
home comforts
in short,
ilization.
That
this
is
true, of
leasfc,
appeal
is
made
to those
who have
the older and more thrifty portions of our land, and finds
owing in a greater or
less
degree to
8
of
PREFACE.
any trade, profession, or
calling, their source, origin, na-
ture, effects,
and
properties,
which they
are influenced
by the
The
materials used
by
its
The
thousand
tints
or
compound
The aim
as brief a
form
as possible, the
mode
of operation in the
and
and properties
There
is
of those
which
are of Nature's
own
production.
nothing in do-
mestic or out-door
life so
common,
;
ranks of those
who
Owing to what
PREFACE.
the writer
must
call a defect in
common
no
tions of learning,
effort is
made
Such teaching
certainly
to
whom we comit is
Hoping
to create
is
an interest in
offer this
it
induced to
book
to the public,
not only to the trade, but also to the general reader, with
the belief that there are but few
instruction in
its
find
some
pages.
CONTENTS
CHAPTER
I.
II.
.....
.
PAGE
.13
18
III.
.23
.
IV.
81
V.
VI.
VII.
VIII.
.35
.
40
.
...
. . . . .
48
52
IX.
New
71
X.
CALLED
XI.
XII.
KaLSOMINING
....
.
83
Paris-Green as a Pigment
.96
113
XIII.
.116
.
XIV.
123
XV.
.125
.
XVI. Light-Oak
Graining
129
XVILDark-Oak
XIX.
Graining
.143
XVIIL Black-Walnut
Ash Graining
.
Graining.
.
.147
.
XX.
Chestnut Graining
....
.
.154
157
12
CHAPTER
CONTENTS.
PAGE
XXI.
XXII.
New
System
of
Geainino
Pine-Wood Suefaces
Distempee-Geaining
.
.
....
on
Unpainted
159
.163
.165 .172
XXiy.
XXVI. XXVII.
XXVIII.
Mahogany Geaining
Geaining
.169
.
.
XXV. Rosewood
Satinwood Geaining
Light-Oak Geaining
.
174
.
176
179
Distempee
.
XXIX. Vaenisuing
XXX.
XXXI.
XXXII.
XXXIII.
.181
Geneeal Eemaeks
.185
.
How
to Paint a Caeeiage
.195
.
....
.
198
205
.211
.217
.
220
.
224
229
How
XXXIX.
XL.
XLI.
235
The Use of Ready-Geound Coloes How to make the Best Job in Black
.
238
.
242
HOUSE-PAINTING, CARRIAGE-PAINTING,
AND GRAINING.
CHAPTER
COLOKS
I.
AKD THEIR
USES.
The
ployed by aboriginal
son.
man
in or for the
adornment
of his perits
To
from
incip-
which
glori-
So-called sacred
books according to Moses tell us that long ago Tyre was famed among the nations of the earth for the skill of her workmen in gold and colors and broidery and that Huram,
;
the
King
King
had sent
to
David cedar
wood, or
build
trees,
him
a dwelliiig-house),
woman
of the
14
and
silver
iron,
and in
Tyre
An
accomplished
artist
man
of
We may
and, more-
had a
significance
of worship.
The
en-
Egyptian
civilization were,
we
incomprehen-
And
so
through
as
we know them
all
its
We may
mony.
when the mind was educated in a knowledge of color-harWe know there was and is a time where in our
an almost entire ignorance of and
and a prevailing
inability to
discern
of color.
harmony and
The
protest of Luther
and
his
USES.
15
it
to flow.
The change
in the spirit of
who
and
radical
The
institution,
founded by
St. Peter,
who
folloAved
God
of
Abraham,
man
souls.
emblem
of the
Church was
Out
of this,
we may assume,
of,
to,
Coming down
to our
own
may
own want
of taste
for decorative
The
rigid teach-
Commonwealth
most
difficult to trace.
civilization.
16
world, by accumulation of
wealth and
its
more or
less of
To
may
said
now
generally to
prevail,
among
sin,
With
not a
crime
little less
heinous
Scarlet with
woman
of
Babylon"
she
hills,
of saints.
pagan
wrath
Colors,
either as
To have rendered
The
rigid
by ornamentation would
lie
under the
spirit
wooden
roofs of
to
worship ^Mn
and in truth,"
so far as they
spiritual impulses.
May we
as
enduring
monumental
brass or marble
USES.
I7
civiliza-
to the
moral and
intel-
Be
and
it
at, it is its
not to be
severe morals
We
find ourselves
now npon
The
paintless
green.
latter dis-
course,
Encouraging
much
colors
yet
as to
what
and
tones of color,
what
tints
CHAPTER
II.
an attribute of
light.
objects are
of color because of
To
was
made
for light,
but the
to
the other.
As no two material
at the
same space
same time,
so
mo-
ment
place,
and
it is
doubtful
if
an object
is
This construction
may
cause us
many
differences of opinion as
19
we can
arrive at
no positive
knowledge of the
effects
certain combinations
and contrasts
and
of light
or-
and shade.
gans of
many
as a rule, identical
among
all
whose perceptive
to
color impressions.
As soon as
I felt the
saw colors
was
This,
will be seen,
was a very important matter about which to come to a decision, for the reason that
contrasts,
if,
man
and always
who
claim that
propound laws
for others.
Such
remains
he saw them.
Upon
20
disposition of
and ornamentation.
are hard to oyercome, for the
reason that
all
come
It is a fixed
and
arbi-
with and
is
with
so
and
tints positive
and
neutral.
Not equally
can not
with
gold
is
ple,
be made
too, are
efl'ect
of all
whereas,
to its neigh-
effect of all.
So
from any
Rules
as to
may
must bear
to each other.
indeed,
may
white, the
with white
the white
21
are equally pertinent as to red and white. Blue and red and yellow make perfect harmony in combination yet
;
when
When
Of
sented together, the blue should be red next, and lastly the yellow.
in quantity, the
it is difficult
course,
to
arises the
important requirement
as well
be
what
are
Few
in
and green, or
is
olive-
But
or, a
required.
may
discord
not be
made
to harmonize
in two colors which can may be toned down and renof a third
;
dered
less disagreeable
by the introduction
this
but,
may
taught by written rules, from the fact that the eye can not
be educated in color-harmony through the ear, any better
than the
latter
colors lose
Intro-
at once
shows
own
color.
Suoh
22
otherwise
it
would seem
its possessor.
It is easy to say
that notes three and four in the musical scale struck to-
know
this
by
through
The
all conditions.
As
and by
CHAPTER
III.
object in ornamenting
with color
must be
with
is
consulted as to what
art,
good.
is
We
haye
now
to deal
not science
with what
rational.
We
when chemically
or scientifically considered,
is
not,
of itself, a
colors
may be
is
Chemistry
its
processes,
but
;
its results.
The theory
of color
is
inter-
esting, as a fact
but
it
perceptive, faculties.
tuitive,
knowledge of color-harmony
is
in-
not acquired.
The
it
faculty,
where
;
it exists,
may
With
wanting
the
man who
it suits
good be-
cause
want
of taste, there
an end to
24
argument.
Such
have no part or
laid
down by those who possess the natural gift of distinguishing harmony in color, improved by the study of good
examples.
Undue importance
harmonious combination.
To
must
necessarily be
to
must
Again
grateful to the
:
a house, or other
;
modern
its
building,
is
not in any
but, with
;
with those
displays,
would be simply
absurd.
combinations,
many
of
under subdued
light,
cial light.
Now,
when
;
viewed by
in
artificial light,
and,
for
ornamenting with
colors,
must be made
25
For example
approach to
and causes
it
to
Blue
that
loses
and
to
and
light blues
be confounded.
dark blue
The
of a full
writer
There should be
and the
and contrasting.
lines
and
With a
is
work
is
applied, even as in
only.
The
make patent
vention.
may
remedy the
defect.
The
result
insig-
only is
nificant.
Undue
2
20
genu-
the latter
first.
is
a
is
chamber
ample ceiling
ornamented in water-
work
of a so-called fresco-painter
who
possessed
them do
not),
and a
skillful in execution.
This cham-
mother
is
must
lie
supinely.
My
reader will,
if
he
and
his gratitude
toward the
artist
when
:
a lux-
How many
hours of dull
the deli-
made endurable by
work
In
all
the
many hours
beautiful
colors
of
my
come
to
know how
It has
only by studying
its lines
27
weary hours of
my
ill-
Think
Puritan whiteness
such a room
"
Is there
The
the
Suppose a
Eeading of books
is
The
exercise
;
is
for
hope
Eeading
is
is
forbidden
employ;
ment
ber.
Where look
for
hope
Kind
whereupon
There
that
is
Therein
lies
hope
many
may
and physical
may
of
harmonious in
tints
and
proportions.
28
which
see not,
nor
its
To produce good
results,
sleei^ing-
But
let
us not forget
that these same colors, so powerful for good, are not impotent for evil
;
according' as
curses as
we
build,"
down
and
all
must be
strictly avoided.
The
figures
and
^'
chamber
of
look
down
They
are as
:
much
the carpet
them
right.
Bou-
wonder or
curiosity.
most impor-
bunch
of flowers
however
fault-
29
objects
may
be
and such
On
the
and
figures
the same
which
is
tractiveness.
mind
finds agreeable
it is
and pleasant
its
occupation
sources.
when by
sickness
deprived of
usual re-
Ifc
room
spiration.
No work
concej)-
None
and
will
thing of beauty,"
is
is
highest signifi-
This digression
is
made
growing
which seems
to be to elevate horse-
Landscape and
cattle painting,
rats
and
and
insect painting,
jiucklings,
30
how
men may
certainly
is
respectable,
and such
it
wonderful
be said to
exist.
CHAPTER
PAIKTS
:
IV.
The
Na-
These
mostly
are
generally neutral
tints
or shades,
being
silica
They are
useful
and
agency.
known
Among
indigo,
is
and gamboge.
also classed
among
vegetable colors.
Lead
yields
white-lead,
of
similar
32
silver- white,
China white,
etc.
also
orange
known
as
as zinc-white.
Copper gives
senic,
verdigris,
known
'^
Paris or emerald
green
for
see
a comprehensive and
detailed
description of
as a Pig-
which
ment.
"
Paris
Green
red.
is
known
as true vermilion.
Cobaltre-
cobalt,
and the
num,
etc.
which includes
is
the qualities
an oxide of that
any except
iron.
The
run into
molds forming
like a
a circle or ring,
;
round gridiron
much
ments.
called
These shapes
buckles,
as
are
in covered
by gentle
heat.
Through the
its
AND
SOURCES.
of
33
a
as
chemically
known
carbonate of lead.
and ground in
oil, is
The other white pigment (white oxide of zinc) is produced The ores, crushed to the size of coarse sand, and as follow^s mixed with fine coal, are spread on the fire, and, when raised
:
room
into
which
This room
passage from the furnace to the bags, goes through chambers into
which
air is admitted.
In
its
yaporous form
it
known
as flowers of zinc.
The oxide
at this stage
sufficient to
is
extremely
a barrel.
pounds being
fill
It is
one fourth of
its
whose business
oil,
names applied
which
and
in the
carbon.
Lampblack, the
to be considered
34
here,
article
known
in trade as
com-
mon rosin,
are
The
finer kinds
made from
tar.
gas
it
CHAPTER
mixi:n^g
V.
colors.
paints
and
facile subject
would
be, if the
names
them
to every
mind
so indeterminate,
and convey
we
confess
subject as to
make
it
fairly intelligible.
We
colors with
of
no easy
;
task,
nor
does
it
Another
difficulty
which presents
itself is
the wrong,
minds of many,
speak of a
maybe a majority,
taches to the
as
to
names
of colors.
When we
tri-
on the
tablet. of his
mind
a figure
36
we
speak of
yellow, the
word conveys
mental vision,
yellow-brown stone
rose
;
and so
and hues
of that color.
green.
stone,
Yet
if
the
Thereyel-
when
low,
reflected color
of the buttercup
In
all
the world of
offer of
we can
a pure yellow
that
it is
if
same
case
is
diffi-
kingdom
so
tended
and herein
37
is
The
flax-flower
among blossoms
us
:
the best
we have
to ofier.
"
The poet
wave
is a
tells
Deep
in the
coral grove,
Where
Where
dew."
Yet,
it as
hoYv'
not present
We
have in
the sky
outside
of pure blue
man
all
The
azure. in
It is
when the
wind
is
these winds do
fleecy clouds,
we
see the
own
blue.
If the
reader would revel in the joy born of the sight of this color
in all its purity, let
tacle,
wait, for
'tis
a rare spec-
as
evening
night,
summer thunder-storm,
*in
up during the
and ushered
38
the sky.
Then, by
close watching,
may
the flax-flower
is
we can
world, to con-
trum.
Red, the
color
fers
first
is
is
which
all
and young, to
of tropical birds.
Nowhere
so small
is it
colors, that it
may
The
difficulty
in obtaining a pure
and the
So
it
to crimson.
it to
purple.
We
Dutch currant
as the best
its
common
39
offered.
We
best,
not
;
the
because,
when we speak of red after this disquisition, we shall be understood to mean the color of the ripe currant, and not old red sandstone. The name of yellow will suggest the
color of the buttercup, not the yellowish-brown of the ochre
pigments
and blue
will call to
mind the
color of heaven.
The teaching
chapter.
compounding
the succeeding
CHAPTER
VI.
(CONTINUED.)
:
Beginning with the primary colors, we say Eed with yellow, commingled in varying proportions,
produces
of tones
;
scarlet, orange,
Red with
amount
all
of blue
is
varied.
which they
color,
are
compounded
is
are pure.
pure gray,
It
is
derived from
a cold, entirely
the black
is
intensely black
gives
first
warm
ued adding of red carries the color out of the range of grays
and
this color so
warm brown.
41
of
called
will be
warm
Eed
all
tween the
warm
in proportion as
it reflects
Red
witli
all
the
all
the exten-
the colors
into
primary,
sec-
all
42
possible deriyatives
treme
colors, black
Orange
Orange-yellow
Crimson
is
Red crimson
Blue crimson
Purple
is
Red purple
Blue purple
Pink
is
Pure gray
French gray
Blue gray
red.
is
"Warm gray
and
red,
is
with preponderance of
is
Green
Olive-green
black.
derived
Apple-green
Silk-green
is
is
Pale blue
is
Pure brown
Red brown
and white.
is
Brown-stone
43
Buff
is
Cream
Corn-color
Maroon
is
Chestnut
Cuir-color
is
Tawny color is
We
but
it
and broken
is
quite impracticable in a
it
work
of this kind,
how-
ever desirable
may
seem.
ther, instructively,
we present some
to
valuable to one
for his
mix
own
profit or pleasure.
The
colors
now employed
with
orsit follows,
if
the
way
would be
in the direction of
material.
economy
Therefore,
we would
is
employment
trade as umber.
This
first,
as
and
also
burnt umber
it
process
causes
These pig-
44
ments, used in the production of any tint of drab or fawncolor, are the equivalent of black
will give
way
of
warm
drabs,
will give
any de-
necessary
much
of the color
may
w^hich
would be a
tint darker
In
these days,
when
and
possible tone
and shade
painting, there
would seem
to be
householder should subject himself to the trouble and expense of mixing his
own
showing
presented, wherefrom he
may
may
dictate.
it is
Notwithstanding
these
conveniences,
possible
maybe
fer to
probable
do
it.
make his own color, and look here to learn how to To give rules for the production of every color, hue,
would be
as impossible as to write a
tint, or shade,
book
of the
The
*^
coun-
not by any
means exhaustive
must be taken
to
make no mention
reach.
of those
which are
45
the staple
of
color-
as a
drop in the
In
bucket
not
is
literally,
of
course,
but comparatively.
wherein the
set forth
paints
and
may
unexpected outcome.
For example
making
He
learns
single
pound
of pure burnt
umber, or
as the case
may
may
require
of
the
chances
are,
pound
umber he
and
when mixed
in with the
to the book,
and the
result
is
Who
blame
the book or
are'
The
burnt Turkey umber, raw Turkey umber, Indian red, Venetian red, chrome-yellow and the yellow ochres, ultra-
is
46
Italian sienna,
latter
named
umbers, Prussian
and
verdigris.
warm
tone
is,
tending to red.
By
shades will
analogy.
be entirely in
by
Not
to repeat, the
colors so to
produced
Good
effects are
such,
and
this practice is
hereby
Eaw
or buff.
undesirable hue.
the genuine
"Eo-
most to be
desired,
tone,
from the
up
to the palest
straw-color used
rable,
favorite
47
wooden houses
darker
in the country.
It will be
much
when
the mass.
upon the building than when viewed in Pure French verdigris is blue to the eye, but,
dried
in oil
when ground
and used
as a paint, it puts
on a dark
This pigment
is
unrivaled water-
proof qualities,
flake
off,
its
and
its
When
lead,
Ten pounds
of pure verdigris,
so
called.
when exposed
to the sunlight.
Ultra-
marine blue
gives,
lakes
peculiarities
will be
under
Carriage-Painting."
CHAPTER
IMPORTAKT.
VII.
PAINT AS AFFECTED
CIES. to be a
BY ATMOSPHERIC AGEN-
power
as indispensable in the
freshly-
soft for a
Paints
which
will
showing 70 of heat,
the same state as
and days
in
when
applied under a
freezing
temperature.
number
of degrees of heat to
which
it
may
be
exposed.
and moderation,
of course.
burning heat.
compound-
under a winter atmosphere, and not harden in the containing package, or dry too quickly under
summer
heats.
49
The
sensitiveness of
freslily-painted surfaces
absence of heat,
is
conducted by the writer, with a view to ascertain with exactness the facts in the case.
For
temperature of 70 Fahr.
of the
adjoining
apartment
entered,
and
came
in
and fresh
as
when
first
applied.
We
desire to
make
this
so plain that
self -constituted
painter,
may
mind
we should be
as
shout of derision.
Some query
our grandmother
a certain
amount
of Iieat
of
is
wanting.
read, said, in answer to a
The sportsman,
whom we
who
called
calf,
it if it
Now, we would
make
50
we could but
find the
way
''how to do
it."
JSTew
Method,"
directions
;
mode
but, in
connection therewith,
all
must be borne
in
mind that
in
in-
house-painting operations,
is
whether out-doors or
doors, heat
a power which
must be taken
into account,
and
will
it
of procedure
which
work
summer temperature
All oil-paints
surface.
soft paint,
which dry
on the
The
and
sud-
mass of
cause
it
not only to
and
shrivel
frost.
on a
first
coat
new
facts,
it
now becomes
to avoid such
tITe
is
pertinent to
an untoward
event
nature of things, be
to so extend,
rub out
be no
this skin, or
can form.
to,
Our
advice
is,
possible, in
artificial
;
an
and
we have
made a
scape-
goat to bear the sins of ignorance, carelessness, or the willful neglect of plainly- written directions.
To be
sin.
wise above
what
is
written
is,
unfortunately, a
common
CHAPTER
VIIL
EXTERIOK HOUSE-PAINTIIs^G.
The
passing away.
A better
taste
now, to
some extent,
prevails,
and
it is
may
Apropos to
this subject.
Downing, in
''
:
Coun try-Houses,"
country-house
is
says
The
of
generally supis
the color
it
;
the
first
and, in some
makes
its
we
fully
of the building.
all
The
greater
num-
its
giving an appear-
many
per-
in itself a recommendation.
No
person of taste,
EXTERIOR HOUSE-PAINTING.
who
gives the subject the least consideration,
is,
b'6
however,
houses white
and
so great a breach of
is,
Our
first
objection to white
is
too
We
scarcely
It is absolutely
painful.
Many
them
by a glimpse of the
pervade the
soft,
of the earth.
Our second
landscapes.
of tone as
objection to white
that
it
Nothing tends
much
from
to destroy breadth
size
all
and
of brilliant
white.
of th3 scene.
tint
which unites or
and
grass,
and
which seems
54
Wordsworth, in a
volume on
*'
The Scenery
of the
He
eye,
of Nature.
The
writer, in his
is
no warrant in Nature, which, in such matters, should measurably be our guide and instructor.
If
we go
stars
to the
blazoning of the
summer
sunset.
She
will
show us a land-
beauty of every color and hue, and tint and shade, and
penciled with exquisite touches the tiniest leaf."
It
must
we
or proportion.
The
not of
itself
good
rea-
son
why
In
should have
little
the reason,
if
for
no
other, that
It should be
is
not, as
EXTERIOR HOUSE-PAINTING.
before said, in any sense a natural object, but, with
55
its
is
all
circumstances, be treated as
it
such
to
make
by painting
plays, is ridiculous.
The
its
try-house
obtrusive
;
is
to
enhance
its
good
features,
;
if it
diminish, or hide,
defects
to bring it into
harmony
with
its
The
excepting the
'^
latter
is
The advocate
may
ask, exultingly,
What
"
which means,
covered, or
of
it
when
it is
^Miow not
to
paint"
may
be considered as settled;
and
How
shall
we
paint,
and what
ing
remain in abey-
now
important.
The
tral,
cream and
most
and greenish-browns.
Two
or three tones of
color
56
style of painting
happily,
now
the fashion
the
custom
tint,
unvarying
being
other,
and with
and broken
so simple to
an adept,
is
among
the
from the
mankind
are
color-impressions
tion of color
is
i.
e.,
The percepmust be
consulted as to what
good
but, as
judgment
is
by no means
;
when
all
and
to give defi-
pigments necessary to
The
difficulties in the
way
of such
an attempt do not
not generally
known
that
much
most
is
perhaps
is,
by
not what
purports to be.
that
the
EXTERIOR HOUSE-PAINTING.
of getting a highly-adnilterated material,
is is
57
;
small
and that
Many
be,
but wholly
fictitious ar-
To
way
of furnishing a set of
combining
It
is
easy to
Turkey umber
Now,
suppose,
lead,
much cheapened by
is
adulterating materials
To mix with
pound, or
wanted
or,
to be
wholly a
lost
fictitious article,
its
much reduced
In the one
;
as to
have
almost
coloring
case, a dirty
be the result
the blame.
58
false
impure
paints, than
would
a volume of argument.
article of
lampblack
as a familiar example.
One pound
of pure, fine
lampblack, at a cost of twenty cents, possesses more coloring-power, and will color more surface, used by
five
itself,
than
or,
of the pure
pigment
and the
its
What
is
true of
lampblack
colored.
is
applicable to
all
No
The
best of
its
kind
of paint
the
name
of
manufacturer.
be,
No
matter
how
great
*Hhe
skill of
the
workman may
To remedy the
good
by
common and
tints
painting.
The
list
comprises a great
many
different tints
and shades of
color,
and these
are
EXTERIOR HOUSE-PAINTING.
for
siicli ijurjiose
59
reference being
had
to
economy, dura-
bility, ease of
Bright blue and red grays, and pink and salmon colors,
are not exhibited, for the reason that such colors are, in a
when used
These tones of
not claimed that these colors are entirely permacan remain unchanged under the
nent.
No compound color
compound
By
*^
is
meant those
colors
all of
Any and
may
with white.
For example
se, is
when
The
claim
is,
way because
;
only are used which have been shown by actual test to best
retain their color under the fading influence of sunlight
also, that these colors are
more homogeneous,
passes
through the
oughly incorporated
the mixture
more entirely an
integral portion of
in small quantity
than
mixed
60
at the
the general
It will
oil,
spread
to be thinned
with raw
The
color
writer
but such
is
That the
skill
necessary
is
not universal
tlie
among
those
who
for rules
those
who
are unskilled in
compounding
may
be able
to produce
any desired
are
The advantages of ready-made colors are many. They more economical, because they are mixed in large quanby steam-power, and,
is
tities
coloring-matter required
added, there
is
no waste.
The
They
of the
same
EXTERIOR HOUSE-PAINTING.
color
tlie
61
may be readily obtained. Samples are furnished, and owner may select tlie exact tone or hue which may
before the
work
shall be
commenced.
is,
from
tance,
difficult
to
neutralize.
There
will
always be more of
expect.
It
obtrusive as
Caution must,
is
apt to disappoint.
however,
obtrusive than
landscape,
yellow house
itself,
is
perfectly harmonious in
;
and
surroundings
and
all
There
who, in matters of
taste,
have no well-
grounded opinions, but are controlled entirely by the decided expressions of their stronger-minded neighbors.
To
arm
criticism.
Variety
is,
two houses in a
all to
be painted well.
62
man should,
in
some
heretofore
much
prevailed, namely,
uniform
color, is
Every
member
of a
individual
size.
One
general tone
its dis-
may
be desirable to hide or
That
will best be
As
very light
is
suitable
foliage
which
by
It accords
not recom-
when
to present a
staring appearance.
For buildings
EXTERIOR HOUSE-PAINTING.
erable.
63
These tones of
color, too,
No
theory, how-
-Such knowledge
practice
and
as to
observation,
what
is
good.
directions,
theories,
The foregoing
the case
or suggestions, as
may
way
of instruction or
who
population
of
country-houses, so called
little
and practice in
him with
Pine-wood surfaces must, in the nature of things, present, in exterior weather-boards, clapboards, moldings,
and
of
plain work,
knots,
more or
less of
imperfections in the
way
and
is
sap,
The
life
of the
pine-tree
wood always
oil
it
;
retains
more or
this
*^
less
Unfortunately,
gum-resin"
used for
and the
in solution will,
64
paint.
no doubt, a bad
state of things
and, unfor
said
(The reader
this subject in
etc.)
is
on
System,"
The
it
so-called
remedy
is
intended to
cure.
coating of shellac-varnish
;
is
sometimes applied to
on
an entire
when used on
exterior surfaces
and
all efforts
to conceal
;
them.
but every house-owner does not care to wait this slow process.
evil
must be borne
as best it
it.
may.
The owner
an old house
is,
is
The
to the
;
to
that
is,
does
much more
in
way
of
good
results.
The weather
corrodes, roughens,
and smooth
surface,
and corrugates
to.
The tooth
wood, and
common
practice
among
builders
is,
to
follow the carpenter with the brush and pot, so that the
EXTERIOR HOUSE-PAINTING.
wood may be coated
is
65
it.
as soon as the
hammer
truly.
leaves
This
the
wood
One may
one
as well
dam
as to
hope to prevent, or
lessen, in
hair's-
Every hygrometric
lessens, as the case
may be, the bulk and dimensions of dead pine-wood, though it may be heavy with successive coats of paint. Every man knows, who has lived in a furnace-heated house, how the
soft-wood doors will swell to tightness in the moister at-
mosphere of summer, and shrink to rattling openness under the dry heat of the furnace-fire and the closed doors
and windows.
In view of
this,,
what vanity
to
hope to
fervor of our
lize
summer sunshine
its
As
its
without contracting
said,
dimensions
From what
has been
satisfactory results
new wooden
is,
house.
We
know,
as a rule,
and a
last to deprecate
We
are
free
to confess,
however, that we
We
new
owner
if
66
the contrary
we must and
to
newly-planed wood,
as the
how "best
do it" presents
Much
of the flaking,
wooden
surfaces
is,
not because of
good outcome.
If paint be
Why
filled
have
The water
it.
The important
next in order
village painter
Your
not
yet having
become a
"No no no!
will
say,
No
mixed
it
I can
this action
EXTERIOR HOUSE-PAINTING.
of
their
67
acquisitions
in
the
way
of
knowledge and of
To know, and
to
their just
and proper
less
pride.
less
These objections
;
are,
however, becoming
and
and
trade
is
colors,
mixed
as aforesaid,
colors
made by
moment
that
the
The reader will understand, once for when we speak of these colors we have in mind paints manufactured by responsible parties, who have
and experience, what mixtures
to
will give the best
;
what
market by parties
tion
men
be
who
In selecting a paint,
it will
safe, as
purchaser to distrust claimants for favor just in proportion as they are thrust upon the public by loud and
windy advertisements,
blow, and bluster.
called
high-sounding
titles,
and
brag,
and the "fire-proof" paints do not contain any "asbestus," or other fire-proof substance.
"Good wine
needs no
C8
bush "
is
portion as
extensively advertised.
No
dealer in specie,
dollars a year.
Quack-medicine
to
our
^*
plain talk."
We
suppose a
moldings,
trimmings, and
cornices,
is,
more or
less elaborate
and ornamental.
The painting
first
imj^ression rather
from the
be spoiled
Architectural beauties
may
by bad coloring
In
lessened, or hidden,
tints.
and the
most
good.
In
practice
Any
tint,
hue, or
shade
may
not,
for
extremes^and the
;
contrast-
ing colors
may
be
made
to
harmonize therewith
but this
The
make any
EXTERIOR HOUSE-PAINTING.
the pine-wood surface to
for a year, unpainted
;
69
tlie
action of
tlie
weather-forces,
wood time
To
all. parts,
the color
selected for
for this
colors,
the finish
is,
the
main or body
color.
The reason
Having the
that
it is
on two
when one
tint
good purposes.
selected
mings, and find out, in actual practice, what will give the
most pleasing
colors,
companion-
in other words,
by
by the use of a
warm
less
drab.
Better effects
main
These would
alike.
The introduction
of a third,
different,
for
is
recommended.
The
compared with
its
neighbors.
The succeeding
stand,
at least, one
The
first
coat should
will be better
week
ten
days, or even
two weeks,
^before
70
and,
a third
is
to be applied, tlie
first
and second
The use
very dark-colored
it
will be
The
burning under
summer
sun,
Red
Very
come hard
features therein.
Such a
st3de of painting is
As a parting word, the writer would most emphatically warn any would-be purchaser of paints, for his own use, to avoid the numberless chemical and other compounds which
are daily offered in ever-increasing variety.
If these
com-
and,
way
of durability
and every
the
oil of flaxseed as
a vehicle or
Linseed-oil paints I
]
CHAPTER
NEW
IX.
houses
sities of
domestic economy.
of
The
many
is
not in ac-
Let
it
be borne in
mind
To
what there
is
or,
perhaps, eliminating
let
us
in detail.
of pro-
72
to coyer the
wooden
with the
oil
of
.
flaxseed, or
To produce
say
three or four
must
more
and a week or
its
and
tedi-
and
stability
would be
less
from the
evils
inherent to
now
pertinent to inquire
how
may
reasonably be
demanded
in this
The
of
soft
is
pine-wood in
called the
common
what
wood-work
such as
more or
Conse-
quently, the
which
is
NEW SYSTEM OF
INTERIOR HOUSE-PAINTING.
it,
73
it,
decomposing
ment
power
to cover
This
evil, too, is
a grow-
(to
march
is
of civilileft in
choice
the
are
re-
selection
and materials
for this
as a shield
between the
oil
made
hardly
sufficient,
many
coat of paint.
This
may
be
is
from time
pair, if
to time, to such
an extent
im-
In addition to this
is
itself,
oil,
sunlight.
no remedy but %
to dispense
74
or finishing coat,
must
The
par-
oil of
low
is
little
it is in-
tended to cure, because the adhesive and water-proof character of the paint
is,
of the
wood-work
Nothing
is
more
common,
wood around
all
quite unworn.
An
entire rej^ainting
No
loss of time,
is,
and
the ordi-
interiors, is satisfac-
To abandon
during the
an atmosphere
which
is
sickening,
or at best disagreeable,
operation of repainting, with the knowledge that the freshness of the beautiful white or delicate tints, so pleasing
75
drying paint,
inquiry
:
is
certainly
good and
''
Can not
discovered
a system
what
which
is
;
good
in the present,
shall introduce
that
is
bad
which
all will
required,
so readily dispense
It
with
"
commend
it
to general favor,
and
more
or less speedy
dura-
smoothit
with the
and
sufficient tenacity
and
elasticity to
to resist accidental
to
is
must
possess, in a
good
least possible
number
of coats,
and give
It
must
so rapidly
that
days
that
is,
76
must work
any extraordinary
its
application.
it
cover well
may
be subjected
to.
The
move
**
finished surface
must be
simple wiping with clear water and a soapy cloth shall reall
of a housewife's duties.
not as
it
not
who
who must,
in obe-
all
painted surfaces to be
to
the last
who can
taste
many reasons, decorate his domicile It can not reasonably and fancy may suggest.
not, for
be
NEW SYSTEM OF
INTERIOR HOUSE-PAINTING.
is
77
flat,
important, a
more
ing
costly,
and
and demands.
of interior house-painting in practice
which are
entirely essential to
is,
an unprepared surface of
new pine-wood.
after,
The following detailed process, " whereby the new system " is to be rendered practicable,
score of cost or trouble.
will be
made
so plain that
slight
knowl-
edge of
how
may
sults
adopt
it
not,
cause, with this, as with every other system, the best re-
best
knowledge and
the most
skilled manipulation.
First, it
is
wood.
This
the
is
knots, pitch,
for
all
and
sap.
It
fills
pores of
practical
purposes,
i^aint.
The
it
cost
varnish
is
but a
78
trifle
but, as
it is
its cost,
and insures a
good
ject.
for this.
using.
The putty must be prepared To make it, take from the can a
mix with common whiting
to
the time of
sufficient
it
quanwhite
or colored,
sistency,
crevices.
a proper con-
The stopping or puttying being completed, brings the work to a readiness to receive the first coat of paint. The preparatory step in the painting will be a thorough stirring of the paint, so as to make the material
of uniform consistency.
may seem
work with
Flow on
to the
much
one,
and water-proof
The finish will be found far superior in solidity and much more homogeneous than the same number of coats of best white-lead, as commonly applied, and, if the result be satisfactory, there need be
but
we suppose a
The
applica-
and gives
The
sur-
improve by
NFW SYSTEM OF
washing and
sist
INTERIOR HOUSE-PAINTING.
found hard enough
79
wij^ing.
It will be
to re-
elastic
enough
to stand without
cracking or chipping.
tion
We
when we
The question
be supposed that
qualities
of
itself
a most imIt
must not
we can have
all
Yet the
no extra
outlay.
is
The
cost
of painting
no
greater, perhaps,
tion of
economy, in
most comprehensive
held
up
to view, the
the
its
;
less
;
time
re-
make
it fit
for use
the supe-
rendered easy
durability under
its non-liability
gases,
common
in every
infre-
its its
and the
quency of
necessary renewal.
it,
combined render
the paint 'is to be* used be clean and free from dust
80
motes.
tlie
pail a joiece of
common
Maybe
side.
In such a
is
significance.
it
Keep
good
will serve a
clean.
It
is
always well,
into the
The
For extended
flat
sur-
known
to painters as a kalsomine-brush,
recommended.
There seems
to be
of painting
by reason
of its inherent
that
we have proved
Like
all
in our own,
it
must
it
necessarily
find favor.
new
things, however,
will in
many
demned.
care,
Failures,
necessarily
it will
NEW SYSTEM OF
to bear the sins of
INTERIOR HOUSE-PAINTING.
That, however,
;
81
many.
is all
anticipated
it
and, in spite of
he
calls attention to
With the
fol-
offered,
it
and commendation
is
asked, only in
it
proportion as
1.
shall fulfill
what
is
claimed for
Do Do
new pine-wood.
2.
heads.
3.
Use a putty-knife
in stopping the
nail-heads
and
crevices.
4. 5.
clean,
new
Do Do
Put
vessel.
7.
on
like varnish.
as
much
without running.
9.
new work,
flow on to
is
it will
look.
It
may
82
It is
detrimental to health.
12.
Bedrooms may be
slept in,
quart.
The sample-card
in-
CHAPTEE
WHITEWASHIN'G
X.
of calcimining, or, as
its
sight or sound,
meanhears
ing becomes
or sees
it,
known
who
first
bill of
magnificent proportions.
which grows
may
same
be,
and
if
to calcimi7ie
is,
in plain English, to
imsh ; and,
is
the
only
it is
blue."
Dutchman who would have his walls "whitewashed mit This common and simple operation, namely, the whitewashing of walls and ceilings, is so much a matter of course, that the* average householder does not deem it
84
The promulgation
'*
Professor TyndalFs
is,
theory of
in the
opinion of the
dis-
writer, the
covery of oxygen by
eighteenth century.
terial welfare of the
Dn
Indeed, so far as
relates to the
ma-
human
race, it
may
to.
The question
has already been asked, no doubt, by the reader, what possible significance the
Much.
The paint
and
will con-
velopment of
natures.
human
it is
light, that to
be deprived of
All
sickly,
and savor
of the earth.
Sunshine
is,
as well,
a physical necessity
not good to
sit
dark dwellings
;
it is
fit
not wholesome to
in dark
sunless
!
rooms
occupants of gloomy,
sin,
or
shame
The
writer has witnessed with lamentation the growing disposition on the part of those householders
who claim
to be the
KALSOMINING.
best, the leaders in society
85
to adopt the use of
It
and fashion,
mind
is,
he wants, but
or persuaded
by the
or dictum of the
who
is
at
and for
We
and dwellis
man
Suppose the
send
and owls, and bugs, and other unsame time, expose their dark
canny things
it will,
at the
them
no more.
This digression
more
washing, or
it.
*^
kalsomining," as one
repeat,
may
choose to
name
Lime
is,
we
;
and well
and
may
be, as it includes
many
qualities or properties.
disinfects,
It covers well,
and
Any room
less cost,
may
be
made
it ?
little
labor and
to
How
do
:
It is easily done,
So
pro-
cure from the shop where such articles are sold a quan-
86
tity of
mind, lump-limenot
less air-slaked.
is
lime in powder,
which
more or
cold water
good enough
all at
The lump
or
lumps should
may
be convenient, and
will eagerly drink
will be peris
ceptible,
going
on nevertheless.
The
and a
slight
will be perceptible.
fairly
The
slaking
may
be said
now
to
have
by degrees.
shall
The
lumps
an open
fire.
This boiling
is
process
must be
thrown
oS very
and the
to dryness.
solidify
;
When
the miniature
form and
whole
may
homogeneous.
Being
cool,
may
KALSOMINING.
spotless,
it
87
thick,
and not
streaky.
If the
will
show a sandy
surface,
and be apt
and
will
This wash
the
have
to
will
power to keep
it
from rubbing
when brought
it is,
hand or garments,
which
The
practice of water-painting,
is
commonly
called "kal-
somining,"
is
in this wise
The
known
to all as chalk,
which
of lime, containing
more or
less siliceous
impurities.
The bed
is
into
The
particles
its
by the stone in
mo-
it
into large
sunken
vats, a
number
;
of which,
the overflow
vat
is
received
by
its
on until
all
the vats
become
filled.
The
from the
in suspension.
The
deposited mass,
when
of proper con-
sistency,
is
lifted
thick,
may
be handled.
They
from the
88
framework.
is
This
article
work.
It will be
remem-
bered that this washed and purified chalk does not possess
in itself the adhesive property of the lime-wash as described
anything which
prevent
to
may
it.
To
this, gelatine in
some form
is
added
to the
pigment
per
as barytes,
may
is
following
the best
is,
We
will
covered with
less
formidable in
number and
extent.
that craftsman
A plasterer ac-
customed to
to
this
do
it.
mode
of operation
is
in this wise
Cut away
clean
down
to the laths,
and
fill
made
of plaster
This
filling
should not be flush with the surface of the wall, but hoi-
KALSOMINING.
lowed out and depressed so as to receive another
89
filling.
This should stand a day or two to dry and harden, and then be
filled flush
to
point up
'' ;
that
is,
to
fill
the holes
glue-size (that
tools for
weak
work
The proper
this
or a
new with
To
'^
a second
first
had time
to dry, in a measure.
This
the
used,
at once
whereas, a preparation
Next
is
it is
called, is
made thus
One
90
pound
pound
of
quarter pound
yenient.
may
be con-
in boiling water,
of each is
com-
and
the mixture
Care must
All
work
is
and
open
so as to
make
The preparation
of the paint
is
as follows
To
stiff
fifteen
paste,
This sup-
If a color be required,
The
coloring pigment
state,
may
not
that
is,
in dry
powder, but be
first
shall be no lumps in it, and then form of a thin wash be incorporated with the white
mass.
with
KALSOMINING.
a kalsomine-brnsh.
91
differ-
oil-painting.
That
is
to say, the
it
on.
No
^*
one
recommended
is
to
add
to
To
dissolve a
pound
of white
required
is
to
bring
it
about
is
to
in a tight vessel
sufficient
upon
it
in the
morning of
must be borne
in
mind
upon the
For ex-
is
mass of paint
will
very
much
to
discolored, patched,
soft
and
easiest
way
make
a foundation for
The next
step
upward in
this
kind of painting
;
is
dignified
which
it is
not in a
92
and
and
the purest possible, from the lightest tint to the deep purples, reds,
and browns.
It
is,
therefore,
more
suitable
work
to oil-pigments,
which are
the very
will, in
The attempt
will not be
made here
It
to teach this
directions.
Example and
In the best
so
common
now
ing
is
recommended
who
among
the practice
artistic
talent.
we
live is
important and
respect.
JEsthetically viewed,
infi-
important
but,
nitely
more
so.
We
colors
as affected
by
may
be
Paper-hangings,
of so
many
dwelling-places, because
KALSOMINING.
of the paints
93
to
be sources of direful
and
diseases.
So
far, this
theory
must
rest
on mere assumption,
as
The
writer has
but in
same
as the offending
material.
ment "
case
but, as
we have
a theory of our
we must
of
Commission.
The
"chamber
paper, and
relate
!
and painted
among
the
many
colors he detected
horrible to
like that
Paris-green, or
deadly material.
"
to the analysis of
my
crucible,
my
acids,
my
alkalies,
my
precipitates,
ear,
and
1
my
test-paper."
The
report
give
me
your
and
will
whisper the
sad tidings
many
We
have
94
forgotten just
children.
women, and
As was found
The
poisoning, or sickness,
we recognize
If in the
as a fact.
The
cause
in the room,
street, in
the neighborhood.
in the pigments
apartment, do not
look for
paper.
Look
form
up from year
to year to
atmosphere, and to
disease
which
development
in
it is
present carbolic
equivalent,
and you
where
and
light
and sweetness,
Paper-hangings
in style
interior
all
and
finish,
and
to their proper
employment
in
KALSOMININO.
ornamentation not a word
is
95
offered in objection.
AVhat
we
object to
is
dis-
posing of nastiness
believe the odors
and, while
we
who
stable or compost-
fatal results,
CHAPTER XL
PARIS-GREEjq" AS
PIGMEi^^T.
The
beautiful pigment
known
in this country
under
as
the commercial
erald-green, and
name
of Paris-green,
in
England
emis,
on the Continent
as Sclieele^s green,
an arsenite of cop-
per,
and
parts of arsenic.
Paris-green
five years ago,
painters
it.
Two
causes
dis-
first,
the
many
made
in the
production of chrome-green.
Paris-green, have been put
the
which
ever
hung
Yet
it is
compound
of Prussian
PARIS-GREEN AS A PIGMENT.
blue and clirome-3^ellow
;
97
fact conis,
that
it
moment
the painter
This fact
are signs
favorite
is
again to
come
to the front
Paris-green.
It
may
of those
who
take an
discouraging of
its
The answer
to that proposition
as follows
We
from an
look at
it
sesthetical
We
it.
as
we
find
and, notwithstand-
ing
all
public sense
to our
windows
becomes
this fact, it
us to
color ornamentation.
There
is
98
exhibited in
Imagine a house-owner
him with
car-
Yet thousands
of house-'owners
work
sum
of
money, without
it
be green.
Now, a
only
may
be painted with
eight cents.
Both these
requirements
that
is, all
will be green
on
the
first
exposure to sunshine.
is
a jorime object,
is
done to
please the eye; and, recognizing^ the fact that the public
taste
demands
we would have
the pigment come into use for this purpose which offers to the eye the purest and most pleasing tone of that favorite
color.
is
Fortunately,
we
which
erties
The
most important,
for
not only
reflects
com-
paratively unfading
to the
PARIS-OREEN AS A PIGMENT.
So far,
is
99
It
-this
material
fulfills all
brilliant
and permanent.
But, alas
in Nature's workings
that
tion
is,
colored pigments.
We
;
ing
all it is
worth
many
way
as to severely limit
and, in
many
if
most beauti-
ful paint.
As
green
to
combine
all
is
a non-drier
proachable color.
many,
its
merits few;
and for
come
As we propose
to the merits
and defects of
chemical product as a
mode
of proceeding in its
manuwhich
precipitates
from
its
will
of
working when
differ
'aj)plied
with a paint-brush.
These crystals
from
and
size as
seashore
100
mixed in
oil,
and he
will
most formidable
overcome
!
difficulties in
way
green as an oil-paint.
so
and
Ay,
there's the
reflect their
rub
beautiful color
when unbroken
therefore,
it is
absolutely
may
who
in the
familiar substance,
of its nature
and
so,
and
is
working
Very
or smalt, such as
can liken
it
a. stone
under a muller.
Just in
The
difficulty of covering a
and,
it
if
would be almost
manner.
Fine
impossible to complete
it
in a satisfactory
paint will adhere to a painted surface with a tenacity entirely foreign to the nature of this sand-like substance.
To
1
PARIS-GREEN AS A PIGMENT.
sum up
all its defects,
;
101
we would say
is
Paris-green works
translucent,
;
and therefore
will
and, as a drier,
is
the worst of
Much
subject
is
we propose
One would concludeputting faith in the marvelous facts given to the reading world from time to time by scientists that an inhalation of air which had been in contact with Paris-green
would prove more deadly than the breath of the fabled upas-tree. Harrowing tales are periodically told of whole
families being poisoned almost to
of experience, reason,
and common-sense.
The reading
"There
are well-
Now,
is
to
but from a
it
such a statement
is
surprising.
Until
shall be
shown that there inheres in this pigment a power to overcome the vis inerticB of the matter to break the bonds
whereby
it is
itself
102
as a vapor
we
it
hold that
it is
Let
be borne in
mind
much
on paper-hangings
some other
in-
nocuous substance
is
of arsenic present
is
very small.
;
highly impor-
tant
because,
much
must
fail for
lack of
No
one,
(as,
we hope,
will
presence of arsenic
which
or any
symptom
of metallic poisoning.
Such a theory
of sight
The uncontradicted
assertion
is
may human
it
would seem
to follow that
on the paper-
danger of serious
reasonable,
it
To render
but that
it
has.
PARIS-GREE^ AS A PIGMENT.
moreoYer, the power to escape from
fine it to the surface of the
tlie
103
paper
to break
from
the tenacious
incloses each
particular crystal,
and find
its
way
by
symptoms
There
is
no reason
but,
on the contrary,
it is
inert
and
unchangeable to the
crystals or silica.
even as
much so
as quartz-
The
in
much
it
of the
time to the
has uncolor,
dergone no change.
It reflects the
same bright-green
all
appear-
in the
as
when
it first
came
hand
as unchanged
Again,
if
tains
is it
it.
Paris-green b^ volatilizable
live for years in
how
possible that
workmen can
which must
good health
in an atmosphere
namely, the
it
are
amount
rooms
?
of surface
It is
not
from
six to eight
green, the vapor rising from the same being like unto a fog
104
may
be
tions used to prevent the inhaling of the dust, a considerable portion finds its
way
mouth
and
nostrils.
As
we '^propose
to look at this
common-
we
believe the
reader will justify us in the declaration that no well-authenticated case exists of poisoning
by Paris-green because of
ing theory
is
arsenite of copper
when
That Paris-green
is
a poison, and,
when taken
in suffiits
Too much
and using and
it
yet there
is
no sense
in
making
a bugbear of
it,
fright-
its
it
use by attributing to
it
qualities
and
which
as
Paris-green,
when
employed
an
PARIS-GREEN AS A PIGMENT.
it
105
acts as
an
irritant in contact
;
with the
flesh if
is
allowed
long to remain so
for example,
when
it
permitted to
finger-nails.
Every
effect,
workman, however,
and the
irritation
is
may
or pre-
when using
it.
Paris-green
may
way
glazing in the
Used
as a body-color, it
must
color.
:
The mode
of proceeding in this
as follows
old or new,
must
This should be
first
coat of the
may
drying, which
ing, it
is
As
a glazdic-
may
may
tate or suggest.
The
results
color.
a dull orange-
Any
may
be obtained through
lightiest
of the greens
which Nature
dull,
make
by com-
106
in well-kept lawn, or
by country roadside, or in
meadow-bottom.
opaque or body-color.
painting.
and
vehicles, are
produced in this
of this
been referred to
elapse after the
coat.
It
first
had
best stand
if
there
too
and only
as
much must
dened the face of many an unfortunate painter who, coming to take a fond look at his work next morning, has
floor,
and the
rest
hang-
Despair
is
Among
Paris-green
many
we neglected
is
to
which
is
important, as
house-painting.
PARIS-GREEN AS A PIGMENT.
of its translucency, its
107
want
of covering property.
The
prime cost of
this green is
its
about twice as
much
as
chrome-
endless names,
quantity
is
high
green ground in
oil is
As mentioned
part of this article,
a series of ex-
it
so formidable to the
it
out of use.
We
hoped
that
to
we could
safely
recommend
if
raw
oil for
use in
its
is
tendency to run, or
trickle,
and, what
most important,
green color.
The
cost,
be given, so
expended in
may
be
known
beforehand.
We
In
to
moreover, there
effort
made
108
cover
under-coat.
solid job
for,
may
be seen.
and
it is
may
impor-
which
It
must be
No
matter
how
may
look
effect
when standing in the paint-shop if when exhibited in their proper belongings, more need not
they have a good
be asked or looked
for.
work
when viewed
in close proximity.
An
artist,
Things viewed
and
repulsive, but,
when
If
made
:
work
is
rough,
What matter
The
may
be attained
thereby.
The work
is
not painted to be
felt of,
but to be
looked at."
Outside blinds, whether
new
than three coats, and new blinds will be the better for having four
;
that
is, first
PARIS-GREEN AS A PIGMENT.
109
used as a glazing.
The
first
lead coat
five
may
days
between the
Do
apt to run on
A good,
the effort to
mahe
it cover,
not desirable.
easily,
work
and
it
may
The
The two
clear
coats of Paris-green
oil.
raw
No
oil
drier of
injures
way,"
when anything
readily conjure
to,
is
up
*^What!" they
stuff,
will exclaim,
is
which
so coarse
must be constantly
*so
transparent that
110
even over
own
if
color,
to
?
run away
Just
a drop too
much
be applied
" etc.
timid disciple.
"
On
surmounted.
that
give
all
and
velvety,
name
and then,
permanent, so durable, so
unchangeable
No
no two
sides to
This perma-
nence, too,
to year
shall re-
and
accom-
The
as follows
feet, respectively.
They had
It will
each pair.
fair
blinds, as they
These
PARIS-GREEN AS A PIGMENT.
blinds were
first
HI
first
coat of Parisit
comes in
when ground
linseed-oil,
six
pounds
raw
mixture was
consumed.
put on, and in this were used nine and one half j^ounds of
thick color and about four pounds of raw
oil for
thinning.
The following
pure Paris-green
show
x 21 inches
color,
1st coat,
6
(
pounds body
"
,.
at 25 cts
$1 50
2d coat,
15
^
raris-green, at 45 cts
$6 75
72
4 27
^
{
{
" "
"
raw
raw
?.
oil,
at 12 cts
7 47
3d
coat,
9^ 4
Paris-green, at 45 cts
oil,
at 12 cts
48
4 75
Total
$13 72
This gives about one dollar and fifteen cents as the cost
of the paint for three coats
on a single pair of
six feet
by
Of
course, this
is
predicated
manner,
will be used.
any such
result
and
it is
entirely safe
No
figures are
112
An
old and
We
would suggest
to
make one trial, under favorable conditions and to those who have heretofore used and discarded it, to bring it back
into use as soon as possible, because
it is,
after
all,
the only
CHAPTER
GRAIJ^IJs^G
XII.
AS A FII^E ART.
*^The Art
of
true.
;
We
and childlike
faith
in this as in
and
all
To
imitate with
and
faculties, the
same development of
skill,
and
talent, as
human
face
As no two
exactly similar.
For
must always
to almost
Vandyke-brown
is
One may
knot which
the color of
114
charcoal,
color
sible
;
devoid of
every pos-
may be found
groundwork
mahogany.
Western oak
dark oak
is
best
White oak
is
is
what
is
As
much
of the yellow,
is
repre-
little of
oak
is
made
make even
a tolerable
common
The
operathat.
tion
is
threefold,
and in some
cases even
more than
as well as tone
and
figure
The
requisites are
wood,
of
parency.
115
its
tlie
puts on
when
varnished or pol-
ished.
The
cold, blackish
is
for Instance,
brown which
There
is,
this
wood
reflects
when yarnished
or polished.
too,
as it
comes
Woods,
too,
and
and put
These
on a
conditions
respected, too,
the learner
of natural woods.
art,
In
from the
;
flock the
so,
the imitator
woods should
which
Nature
offers
those
to the eye,
and observation.
are not
curiosities,
worth
CHAPTER
XIII.
The
knots,
and
colors of
fancy woods
merely mechanical,
and constant
practice.
is
dependent on
An
eye
prompt
in detecting similarity in
make-up
of a
good
grainer.
among
but of
sign-painting, gilding,
late years it has
and
all
to give
Therefore, certain
workmen
*'
desig-
sign-writers
GRAINING.
to the trade," etc.
117
towns and
work
in
and
directions,
would be
as
much an
impossibility
make
sound.
Even a
but there
much
is
much
this
The
at one time
declined materially, has of late years revived, and the fashion for this kind of painting
is
now more
prevalent and
desired,
The
number and
variety
and other
tools
used in
enable
the imitative
art.
Formerly the
ticed
art of
118
pretended
with heated
and turpentine
little
to
make what
called
"megilp."
These
professors, are
much
less
common than
in
younger times.
Its best
artist
results are
and the
to to
may
be set
down
as a quack.
use,
them
way
by those who
removed
the theory of
practice
"how
do
it,"
and
all
and observation.
rules
and
bear in
mind
GRAINING.
119
we
shall all be
When
we say raw
the best
groundwork
we beg the
a clay-
is
the sale of
it is
No
painter should
bear upon
responsible
as a rule,
it
name and guarantee of some well-known manufacturer. The consumer should know,
the
contain,
is
in-
White-lead, so well
known by
its
familiar name,
is
the
most important
Its
un-
made
it
all at-
tempts to supersede
success.
have been, so
for it
is
far, entirely
without
The demand
new
No
common
The
by chemical or
mechanical
wliich are
known
120
detection extremely
the
name
of
This, even,
and imitated.
White-lead
is
what
is
is
known
in
What
sugar
to the grocer,
white-lead
is
It is almost every-
name
The
result
is,
a satisfactory
enhancement of the
seller's
profit,
sumer.
Thousands of tons
this fraud
is
and we
rest
is
tints, it be-
would be
if
of the
GRAIXING.
121
At
consumer
cally,
best materials.
pure
lead, at
it
whatif
ever cost.
can.
demanded, get
pure,
you
paint,
it is
of its kind,
the less
2.
costs to
formed
the best
is
day which are more than half sand, or some other worthless material,
is less
than
brilliant
in distributing a so-called
pound
paints,
ground
and ten
one.
freights
and ten
is
profits
This digression
all,
made
122
for success.
labels.
As
a rule,
CHAPTER
XIV.
COLORS.
from pale
light redIt
yellow to light
umber tone
in the oak,
and from
liglitest colors
which
and body
of graining color to
The ground-color
nut, and ash,
may
be the same.
Black-walnut ground, of
and depth
of color
but
it
would not be a
difficult
make
maple ground.
Attention
show that
after
it
all,
of less consequence
than
it
124
quantity of
It
is,
coat.
face of the
work
shall be
smooth,
solid,
and uniform in
comb
cleanly
clearly
and
brightly.
The
graining-colors
may
common
work
will present a
alike inartistic
and unsatisfacalto-
much
larger
In the
first
in the
CHAPTER XV.
TOOLS KEQUIKED FOR GRAINING.
There
brushes
and
the
indispensable
of
production
painted
imita-
which
even
the
most
exjoert
professional
at a loss,
grainer would
be
der
difificulties.
Yet
it
must be
by
skill,
means
of a
practiced
eye,
may and
the
does
produce
effects
appliances
which
A
Badger-hair Blender or Softener.
must
which the
best tools
his reach.
First in im-
126
yteel Grainiiig-Couib.
portance, after the brushes necessary for applying the graining-color to the groundwork, comes a badger-hair blender
Piltod
Maple Over-
(or
Top-) Graiucr.
127
;
which
is
sec-
combs, three of which are one inch wide, three two inches,
three three inches, and three four inches wide.
in
Each comb
the
several
widths varies
from
its
companions in the
one in each
fine,
when
coarse
comb-
is
effect-
This
is
This short
list,
with a top-
er over-grain er (a drawing of
which
the
is
extraordinary
the rest
quired,
being com"''"M,i;,,iii(i,,i,w|[||,i|i|:|||iHiiiri,,|,[||M|||i't|i!|.i
ii:'hii
mon
in
or fitch
For graining
128
Maple Graining."
The
cost
for
CameFs-bair Cutter
for
Maple Graining.
all
made
use
is
to be
mostly
and wlien
it is
larger brushes.
These, however,
Avill
be noted each in
its
appropriate
i)lace.
The
certainly, to tlie
remark
and brushes,
to use
much
than to
how
them.
CHAPTER
XVI.
LIGHT-OAK GRAINING.
The
light
oak
Italian sienna.
Golden ochre
will
do in place of sienna,
tint.
The
too
common
use of chrome-yellow
is
is
to
make
work
It will be seen,
that
it
reflects,
The yellow
derived
in a great measure
of varnish used
The opinion
to the ground.
obtains
among
This
is
much
significance as
is
generally ascribed to
it.
In
fact,
the graining-color
as a fair job of
is less
may
be performed
130
wliitc-lead
muddy
what
is
required to
The beginner
thought that his
flattering
own
The
self-love,
which he
him
handiwork,
will
frown
as
if
in
mockery
of his
maiden
come most
The study
is
not
and a habit
of
work
in certain places, as
some
do.
The same
It will
True, this
it
would not
work
and suppos-
tint,
and the
LIGHT-OAK GRAINING.
ever quantity
131
may
That portion
of the color
oil
and
on the work.
portion of boiled
much
as
may
quickly.
Except
no advantage to
be gained in using
The work
will not be
any more
i:)ro2)ortion of oil in
on a surface without
gloss.
Ordinarily, graining-color
is
to drying, so as to be ready
on the
If it be desirable to
it
may
be
jajjan drier
much
of the japan in
market now
is
made without
o]:*-
erator
is
assured of
The beginner
of
or learner will at
mixing
little
that
he will use
it
too
is
thinning
but, as this
is
most
easily remedied,
The quantity
of color
door
is
almost infinitesimal.
look
paint
Too
and
much color will make the Avork It is common to ruh in that is,
muddy and
slovenly.
all
the panels
tlie
work, as
132
has set a
little.
If the
to
rub in too
much
at once
work
work
That portion of
the surface
which
is
to receive the
put in
while that
to be
lights.
"
common
use
among
English grainers, for the reason that most of the best work-
men
them
acquired on
The
workmen
way
made
of art, a
be acquired through
perceptive faculties.
An
liour of
practical demonstration
written
instructions.
To
lead the
half-taught learner
;
but to teach a
may
per-
even anticipates.
With
and
to
LIGHT-OAK GRAINING.
I33
to
it
make it, if possible, comi^rehensible to the greatest novice, him who has never seen a job of ^graining performed,
is
^'^
rubbing in"
its
completion.
The
work
are
simply a moderately
the color
;
thereto
a soft, clean,
and a
set of
combs
These comprise
operation.
all
which are
much more
like
like painting,
it
is
now supposed
is
ready with
its
ground
This
must be rubbed
uniform surface.
The
beads, molds,
if
not
Too much
look
^^
color on
it
blotchy "
when
Care
must be taken
graining,
In oak
it will
is
shown, not by
as to leave
adding a darker
134
The
panels will
first
receive attention,
and
it is
advised,
will
as a rule, to
There
and
stiles to
work, and
much
and
all
elaboration
is
The
corres2:>onding panels
must be
graining,
ance.
The
fact
must be
much more
respectable
at
display.
turn
off
job of grained work wliich will not offend good taste, even
though
wood.
it
gested, the first proceeding in order, after the application of the color,
to
is
it
in streaks,
from top
to
its
turn with
one
in a similar
manner with
comb
still
finer
To
ical
;
who can
manner.
branch of
Now
it
ceases to be mechanical,
and becomes a
fine art.
LIGHT-OAK GRAINING.
The taking out thumb with a piece
comes
at once the
I35
of tlie lights
is
of cotton rag,
in the operation.
The broader
lights will be
wiped out
with the fleshy part of the finger, and the finer lines with
the covered nail of that most useful member, which performs
so
(The horn
w^ill
tool
be described hereafter.)
will,
color,
and
so will
This necessitates
When
color, it
rag shall
aside,
must be thrown
and
The
tory,
first
how
perform what, at
appears so
efforts,
but, as pracAvill
deserve
success.
beholder
may con-
and bottom
stiles, will
come
136
next in order.
display of work.
The
color will be
first
applied to the
middle
stiles,
rubbed
middle
in,
The two
work
into
stiles will
The
color
may
be rubbed into
the top and bottom rails at the same time as on the broad
rail.
not rubbed
stiles
in, to
be cut
may
be.
The
distinct,
itself, will
be obvious to the
The work
in the sap
actually
comb
of the
not precede
as
The top
that
is,
and bottom
rails will
The
and
outer
stiles
work
is
con-
cerned.
The
oil-graining
is
now set
aside,
left to dry,
Some
LIGHT-OAK GRAmma.
used for the
advised.
first coat,
137
is
Etrongly
Supposing
sand-paper
is
recom-
mended
put
uj? in'
wide-mouthed
bottles, are
now
obtainable in the
color-shops,
The proper
sienna, burnt
is
and Vandyke-brown,
must be very
as a
small.
The operation
poor job
most important,
by unskillful manipulation in
this process, as a
may
glazing-coat.
Much may
be found,
;
that
a yellower color
may
raw sienna
in the glazing-color
supposing a more
may
yellow
tone be desirable
or, a too
yellow ground
be concealed
The
work proceeds.
some
parts, as
will serve, while
This
is
much
138
The brushes required for this part a top- or over-grainer, shown on page
er,
127, a badger-blend-
common
as
pocket-comb.
stiff
The
watersoft-
color
must be rubbed
in with a
bristle-brush,
and
can be applied.
The top
grain,
which
is
almost
which
were,
The
from
Great care
is
apply too
much
The
glazing
rails
and
stiles, as
may
These should
rails
and
stiles.
The glowing
work up
be treated in a sej^arate
means
of
LIGHT-OAK GRAINING.
any further words upon the subject.
conclusion, that
it is
I39
to say, in
Enough
to graining
and, more
artist
The
good job on
no
what-
his hand.
In
is
to
is
put in
shown
the usual
mode
is
may
be.
The
ness
left
and variety
to the work.
Some
Avill
may
dictate.
As
This gives a
much
better
dark
strip in a
group
A good
effect is
GRAINING.
oak, and the rails and stiles very dark red-oak, the moldstiles.
The
molding,
if
may
be painted with
the
re-
else.
and
is
A summary of the
ful to
foregoing instructions
may prove
use-
of grain-
The The
first requisite is
for rubbing in
;
the graining-color
er's duster, or
a paint-
and a
rag, to
wipe
Next
in order
is
colors are
It
recommended
of
esi^ecially for
all
beginners.
may
graining-colors are
compounded
Italian sienna,
raw and
occasion.
It is impossible to give
much
and con-
The
tools
in
141
This
un-
As
a rule,
oil
much
color.
is
Use boiled
and
turpentine, and no
color
more
oil
than
sion require the color to dry very rapidly, use a small quantity of
gold-size.
stiff
Rub
lights.
brush.
When
the
rail
full of
work, the
plain combing,
and be of lighter
This
oil-coat
is
with
all
its
darker neighbor.
graining.
oak
The
worn sand-paper.
reason,
if
Use water-color
for
before varnishing.
Eaw and
The
Judgment,
taste,
skill,
indispensal)le
prerequisites to a
for
horn
The end,
slightly rounded,
sides
142
to a sharp edge,
on a piece of
of rag, as the of
it
The blade
of a
horn spatula,
common
means
described.
in every apothecary's
above
The ground
is
coat
must be well
it will
dried,
on which
the horn
used
tool.
otherwise
edge of the
The
both as to ground-tints
who
not
is
to
him
wlio
is
able to be a
him who
As a
which govern
art generally,
;
if
may
most
seem, there
is
efforts or
CHAPTER
XVII.
DARK-OAK GRAIXIi^G-COLOR.
There
this
is
going chapter.
of the different
ground
and graining
The ground
of golden ochre
is
made
of pure white-lead,
in j^lace
Deep orange-chrome
desired.
when
The
graining-color
is
composed
same materials
raw
sienna,
and Vandyke-
The reader
names
of the
make
proceed forthwith to
make what
is
and working
quality.
144
It
what they
j^ur-
any, than
The bulk of the so-called raw sienna is little better, commonest yellow ochre the burnt sienna
;
if is
composed
of
Now,
to require
Nor gods nor man can tell a workman to make a good job of graining
what
?
"
is
make
As
ity
buy ground
colors bearing
that
sell
is,
and
rests
demand and
least that
which he knows
practiced
It has
hand
In many,
A grainer must
indeed be weak
in resources
BARK-OAK GRAmmO-COLOR.
145
color.
Many of
our
fervor
are thoroughly
me-
chanical,
are
and among
who
ground and
color.
Avill
knowledge of
by study or practice
fited
and
all
readers
may
jDcrhaps be benesubject.
It is
by a few words on
this
most important
know
what plain
trasts or
colors
and
tints
may be used
in
harmonious con-
of fancy woods.
Green
is
entirely unobjectionable
in-
deed,
it
satinwood,
maple,
but
is
Blue
is
entirely
harmonious with
all
all
these latter.
;
Black
harmonizes with
but white
All
feeble
and wanting.
Gold
is
good with
is
all,
not so
brill-
The bright
colors in
thereby
lat-
146
satinwood.
Gold
is
color,
black,
CHAPTER
XVIII.
BLACK-WALNUT GRAINING.
This wood, now
description, has
so
common in
teen years.
Previously
common purposes, and no one dreamed cheap and common domestic tree would become
ma-
hogany.
In black- walnut graining no two
as to
agree
itself
when
itself
the
which upsets
wood,
all
The
is
being worked,
hogany.
Yet such
is
148
l^iece of
ground.
surface,
color.
in the graining-
must
wood which
is
Black-walnut
We
suggest, as the
most
made
black.
The
mind
no
difficulty in covering
and concealing
may
be.
So
it will
which
is
too dull to
as to the
mode
of painting
results in black-walnut
The wood
and dark oak.
;
is
what
is
called soft-grained,
and
does not present the sharp lines and clear grain observable
in light
Therefore
it
in distemper-graining
more
difficult
skill
in successful
tint,
to go over the
of
All the
may
BLACK-WALNUT GRAINING.
ready ground in water, for
in preparing the
less cost
149
of those
who
it
which
stippling
is
simjoly the
bristles
When
has become dry, the work will be ready for the application
of the oil graining-color.^
It
is
workman will have supplied himself with made graining-color, and that no mixing
cept to thin with boiled
oil
and turpentine
teach properly.
need
oil
when the
shall
intention
is
after the
manner
of oak graining,
It will be
which
is
not the
mode
we
recommend.
wood
of this kind
used in domestic and other architecture, and also in furniture, is usually finished
stains
The
too, is to
not ob-
The
oil
150
for application
may
be
fin-
more
or, if
may
The
and in another
collec-
tively
that
is,
its
individual character,
AVith
must be a
certain uniformity.
That portion
hand
of the artist.
The
oil
graining-
color
may
be
work
and
figures.
modes
one
is
oak graining
is
not rec-
ommended,
to
wipe
off
nearly
all
As
the veins are put in, they should be softened with the
re-
oil
graining-color,
it is
com-
BLACK-WALNUT GRAINING.
toj) to
151
be, to give
bottom of
rail
may
variety
If it
in hand.
were possible
just
this should
;
but
knowledge
will
close observation
work
of
some accomplished
Much
and .quickly.
A painter's duster,
or other brush,
drawn lengthwise
make
a good
much, or
it
and
inartistic.
Too much
plainness,
will
give the
ter.
work a
is
careless, slovenly,
unworkmanlike charac-
It
;
joints
for itself.
the
stiles of
a door
must not
a day or two, as
may be
which
will be water-color,
composed
of
Vandyke-brown and
drop-black.
The mode
light-oak graining.
The
work may
require.
It will be observed
152
that there
wood being
spots.
The
use of the
comb may be
black-walnut graining.
ing surface.
The
top- or over-grainer
may
be used for
rails
and
stiles
a view to
it
economy
of
time
requires a practiced
hand.
A bit A
of sponge
is
color graining
and glazing.
of
summary
A stippled
Vandyke-
composed
of
Vandyke-brown, burnt
and drop-black.
as best
Keady-made grain-
recommended
and cheapest.
The
oil-color
is
may
dry.
of water-color
The
them
in-
When
color,
the oil-coat
is
dry,
it
with worn
fine sand-paper,
BLACK-WALNUT GRAINING.
be applied.
a blender.
153
light-
When
a large surface
is
to be grained cheaply,
employ a
of the bristles,
thereof.
is
whenever
first
it
will
on the
coat of varnish.
A job
If the
of black-walnut graining
free use of
is
may
be finished in one
oil-coat.
day by the
work
coat
must be
of oil graining-color.
CHAPTER
XIX.
ASH GRAIKIKG.
Until within
a few years there has been no
demand
for
its
in the inte-
and
of houses
and
domiciles.
The latter-named
demand
wood
in cases
The
question as to the
economy
who have
is
of
prime im-
portance.
wood may
may
be in ac-
cord with the saved-up money wherewith to pay the painter's bill.
ASH GRAINING.
Graining or grained work
is,
I55
performed, will
last
must
as grained
work by
coats of yarnish
should
wood-work
of a dwelling-house,
taste,
well,
easily
worked than
closely resembles.
many
with furniture and other joined work, who can not always
distinguish between these two woods.
Ash may be
they were
dapples
The work
for
ash graining
has the
same
colored
combing
to
156
The painter
ready-made
is
make
his
own
ash graining-color,
of
he will experience
in
great difficulty
making
that which he
may
The
use of this
wood
is
so
common, and
the American
ash varies so
little in its
workman
is
surface, to
fill
to use
it
as
an
The occurrence
companying
give to the
tints
wood
der this
common
is
There
a sj^ecies of this
wood
called
Hungarian
ash,
now
cars.
in
common
is
This
same being
In tone of
beautifully
color,
and
intricately curled
and
tinted.
it
CHAPTER XX.
CHESTi^UT GRAIKIKG.
This chapter
graining,
will finish
oil-
and
little
from the
fact that
there
is
to be said
on
graining-color.
The
why
with the
The ground
for chestnut
is
would seem
make
and a
little
orange-chrome will
Van-
158
use
is
advised in preference to
making up
This wood
of the color
is
by the painter.
hard
want
the
of variety.
by wiping
out, after
manner
of oak-graining,
is
of coarse combs.
The
filled
best study
up and
polished.
We
took any particular pride in his ability to make a good imitation of this wood,
as
class
workman.
the cost of painting in
is
as great as
is
still
remains unanswered.
Why
CHAPTER
KEW
SYSTEM OF GRAIN"IKG
XXI.
PINE-WOOD
ON" U:N'PAINTED
SURFACES.
The
and
first
work
of this kind
writer's notice
direction,
The
peculiarity
new manner
The
tint of
new white
same
The operation
same manner
as
work one
of
heretofore described
under the
title
"Light-Oak Graining."
In this method (referring to black-walnut) the stippled
coat of distemper-color
oil-
as
To prepare the glue-size, take a handful, more or may be required, of wliite glue, and throw the same
less,
into
IGO
stand overnight.
Let
and
also strong
enough
and
res-
A little practice
will
make
per-
The
than
the
is
graining-color
may have
a greater proportion of
oil
recommended
for graining
on
joainted surfaces, as
wood
more or
less absorbent.
how
long the
will
As much
graining-color,
as
light-oak parts, for the reason that the heavier the graining-coat, the better
body
varnish-coat.
first
application of graining-color
when
as before described.
The beginner
will find
it
not
161
color,
will be good, for the reason that tracing the natural veins
will familiarize
him with
is
The
with
first
fine,
may
or distemper,
given
in this
way
work done
it
make
of time
durable than the best job done in the ordinary way, because the color, being ingrained on the wood, will not
darker graining-color.
equivalent
of,
The system
but
as a
is
work
as ordinarily
performed
of producing a
The
1G2
many
are slow to
common
as,
white pine.
In any event, a
nothing,
in
and
make
a good foundation to
CHAPTER
XXII.
DISTEMPER-GRAIKING.
The
term
'*
distemper-graining"
is
imperfectly underto be a
who
use
it,
upon
it
not wholly,
of paint-
Its
proper definition
method
oil is
used
is
Its application,
however,
to
kinds of graining
and
oil,
to that
work only
where nonetc.,
employed in place of
nature.
Formerly,
all
imitations of
date.
The advantage
(so to speak)
of
distemper-graining
that no
time
ting in of the
are
than
oil
graining-colors
104
woods, as oak, ash, and chestnut, the oil-colors are decidedly preferable.
in distemper-graining, all of
which
will be treated
more
CHAPTER
XXIII.
The wood
its close, fine
is,
with
ground and
of
what are
it
called
the
light-colored woods.
Painted imitations of
the slightest quantity of Italian raw sienna. use a white ground, but
it is
Some
grainers
it
to the
natural
wood when
finished
and polished.
Raw
maple.
The raw
The ground should be rubbed very smooth with The amount of graining-color required is fine sand-paper. very small, and the work must be rubbed in one panel or
material.
piece at a time.
lights.
by means
of the tool
made
166
The
tool
is
panel or
rail or stile, as
passage, in
The work
is
left to right,
that
is,
shown on page
comes into
use.
The
pipes,
will be seen,
is
there
the over-grain, and to draw the over-grainer with an undulating, sinuous motion from top to bottom of the panel.
When
by
rolling a
to bottom,
and
to
surface of the
more or
it,
less
loosely or in contact.
was an
expeditious
mode
of procedure, but
we
was
little T^orth.
to
an imitation of maple
is
bird's-eyes
operation,
and
The
ob-
is
so folded as to present,
BIRD'S-EYE MAPLE.
167
The
is
extremely simple
made
intelligible
by a yerbal
description.
as to the success
operation.
Take a piece
lay on the table
hand
bring
the two edges together toward the body, leaving the fold
upon
is
tri-
angle
such as fancy
other
retain
enough
form a minute,
in-
regard to arrangement.
its
proper place,
which place
will be readily
Remember,
What seems
crosswise,
shadow
of the
dark spot
is
from
left to right*
where showiness
is
required,
and
1G8
and
or, better,
rosewood.
The
tree
wood
is
the well-known
in the
common
more
Korthern
States.
will
The time
work than
at present
for the
is
it yields.
Its use
con-
CHAPTER XXIV.
MAHOGAKY
The
ble
GRAINII^G.*
wood
architectis
substitution
by black- walnut,
and
which
hogany
mahogany
sucart.
cessfully
wood
a bright ground
required,
The graining-color made with burnt Italian sienna and a little Vandykebrown. The grain is put in with various means and tools,
orange chrome-yellow and royal red.
is
* This chapter was written some years ago, when this beautiful wood was almost forgotten as a material out of which to construct household furniture. The mutations of fashion have again brought it to the front, and from this time forth mahogany will be " the mode," and black-walnut must take a back seat. Consequently, what we have said about mahogany
graining has a double
valufe, for
wood
will
again be in demand.
170
according to
known
as crotch-
with the cutter, as shown on page 128, and for this purpose
is
all
the vari-
workmen have
We
could
tell of
would be
we
refrain.
is
The
It
must
not,
how-
broken or separated in
much
as pos-
dry
state.
The
fine lines
which are
as in
and are
carried,
down on
course,
The
commence,
;
of
but
as the
graining
sarily
commence
side at the
same height or
grainers
level.
Some
making ground for mahogany but our opinion is, that the colors recommended are sufficiently bright, and that the
brighter-colored pigments are not necessary or advisable.
MAHOGANY
The
rails
GRAINIXG.
171
and
stiles in
work may be
its
either continuously or
by arresting
it
to a full stop,
and
In
this, as in all
kinds of painted
most importantipart.
any more than
ors.
it
col-
It is the principal
effects
next in order.
This
may
When
this varnish-coat
sufficiently
drywhich should be
in one
day
the work
Rub
is
ready for glazing, which will be done with the same color
as
first coat.
may seem
in-
necessary.
The
glazing-coat in
The
much
running.
CHAPTER XXV.
EOSEWOOD GRAINING.
This
costly
its
place in the
fashionable world, and the arbitrary dictates of that capricious yet almost unquestioned
cer-
places, shall
be shaped in rosewood.
satis-
of
it
Rosewood doors
not
uncommon,
it
is
work
for rosewood
is
crimson vermilion
The
and
This brings
The
ROSEWOOD GRAINING.
gray tone of
tlie
173
common
what
is
The black
There
is
is
to
common lamp-
to lead-color.
This
is
which has no
rival It
a ray of light.
may
some
dealer's
who
It will be
and
an imitation of rosewood.
The
glazing-coat of black
will, of course,
and oak.
Rose-pink
first
is
all
work.
Eosewood imitations
being
are not
itself
CHAPTER XXVI.
SATINWOOD.
This
on a high
is
an East-Indian wood of
fine grain,
and takes
polish.
It is displayed
is
imitated on
The
graining-color
is
raw
The
woods
is
The graining
is
shown on page
128,
and
chapter on "
to the
Mahogany Graining,"
little
work
is
in question.
There
very
demand
wood
of the same.
While
it
is
in graining,
it
SATIN wo 01).
tion of natural
175
wood
is
a practiced, eye,
and good
No man
can perform a
good
job,
in imitating colored
surface
in
eight hours.
may
work
be a
of art
"thing of bemity,'^
as certainly as
the finest
of a picture-gallery.
The
itinerant
in
broad Dutch
is
freely
may
twenty-five dollars
may
same
surface.
supposed to
receive
his
money.
easily
In
and
and
it is
shall be able to
may
be required.
CHAPTER
XXVII.
BLACK-WALNUT IN DISTEMPER.
This mode
of graining black-walnut
is is
recommended
and cheaply,
It is
when
a large surface
little
to be painted quickly
and with
which
be hereafter de-
scribed.
First, the
used in oil-graining,
coat of water-color,
made
of burnt sienna
and Vandyke-
brown
that
recommended
dry,
Upon
when
may
walnut graining.
When
manner
as
shown on page
152,
''
Black-
BLACK-WALNUT IX DISTEMPER.
It
is
I77
ex-
common,
in
or
rail-work,
which con-
flat pieces, as
first
to give
to
and softening,
is
as
may
This mode
recommended when
the surfaces do not afford any chance for a display of artistic labor or skill.
When
wood
is
to be
is
to
course of jDrocedure
on
this,
when
dry, a coat of
en ochre and a
little
ivory-black, to produce a
oil,
warm
drab
and,
when thoroughly
an eight-inch
in
Thin
this
before said.
as
is
common
it
floor
by means
of a dust-pan.
Put the
at a time, as
and go over
it
straight
ai
178
This
durable
if
CHAPTER
XXVIII.
IN"
LIGHT-OAK GKAINING
DISTEMPER.
called
upon
to depart
from
now
in oil-colors
but there
may be
score of
of
now
in actual operation
as a
by the writer
mancom-
prehension the
results
mode
new wood
This
is
followed by the
coat of ground-color
a light buff
as
made
as
of
This
oil-
much
an ordinary second
a rubbing of sand-
coat,
when
180
paper brings
color.
tlie
distemper graining-
For
this,
Vandyke-brown ground in water, whatever may be required to do the work mix to suit the taste, as to tone of
;
color,
and add
to the mixture
flour-paste;
and comb
To
work
will
In case
it
may
be deemed desirable
graining-color
may
or stile of
When
dry, this
work should
but
it
is,
little, if
any,
is
much more
and pleasing
is
to the eye
that
colors.
CHAPTER XXIX.
YARK^ISHIKG.
The
shabbiest
in painting
is
required.
less
discretion in the
way
of
true
Work
that
is
worth varnishing at
It will
it
all, is
worth a good
whether
coat
be not suited to
condition that
all
thrown away.
used on furniture^
work
seems
almost
beyond
that
a householder
182
ing,
nish which
preserve
it.
The
but a
trifle.
that
while the best ought not to cost over six dollars a gallon.
The
more than
much
better
Many
purchase of
What would
would expend
be
thought of
a carriage-painter
who
and the
requisite material,
in painting a coach,
and
finish the
of a job of
There
is
last
without
and
attractive as the
It is quite
within the
power
of a
good workman
it shall
more.
To
knowledge,
but
it
is
within
VARNISHING.
reach of every good workman.
Ig3
job of grained
No good
Two
is
fact,
first
being what
known
m coachenough
varnish.
to
The
first
become
sufficiently
hard,
with a
flat,
As much
work withpractice,
it.
out running.
skill
and
No
remembered that we
now
treating the
question of
common
and spur of
woods.
insufficient compensation,
re-
Nothing
in
is
may
maximum
two
most desirable
qualities in combination.
So, his
example
may
in
Through a
may
as
be rendered as
is
much more
now
are,
coach-work
The
184
assertion
intelligence,
rubbed out.
The two
processes are
is
to
put
as
much on
there
is
the
work
on
the" surface,
supposing
it
to be
better.
The
how
but,
be put upon
there.
say, use
and
as
mucli
it
CHAPTER XXX.
GENERAL REMARKS.
There
is
much
and
way on
extent.
to describe
as,
much
and particularity
in
of directions.
The
difficulty of teaching
any
art or sci-
ence,
the attempt.
To
teach,
by means
of
and properly
;
is
comparatively easy
but to
make
clear to the
upon the
it
eye,
and at
it as
not to make
seem child-
these difficulties
would be slow
186
we would again
call
unacquainted even
names
of the tools
proper direction.
upon the
effort
The measure of success which will wait can be known only to those who seek income
to the conclusion that all
it,
The
through
is
wrought out
called graining
is
coat of varnish.
Much
graining
color
is
What
is
worth having
is
and
this will be
The
interior
wood-work
in mills, factories,
and places
of like nature,
is
commonly painted
in imitation of
some
much on
A varnished surwell.
much more
;
easily
nary paint
made
at putting
in fine work, the object being to turn off the job as quick-
GENERAL REMARKS.
ly as possible,
187
formity.
City grainers
the trade"
those
who
call
themselves "grainers to
do
more
boys,
who soon
and who
are,
ough knowledge
The importance
The
best
workman
will retain
in
rough places
will not part
an
undue proportion
the attempt
is
of color,
and
with
it
when
made
well sand-
corners.
They remind us
of
but who
Care
down
and base-boards
;
their resting-places
New
pine
wood-work, which
is
to be finished in imitation of
first
any of
finish,
and the
coat should
The succeeding
coats should be as
188
dark
wood
it
is
proposed to
By
very
much
it
less-
in time
it is
off,
it,
brittle,
will,
in the nature of
neath coats.
If the color
little
defaced,
compared with
what
it
The
economy
in respect
An
of his
proper thing to do
is
to call
upon
all
how
may be
done,
it
who makes
new
the
upholsterers in
New York
it
promise to do
sum
of
money
There
is
as
aENERAL REMARKS.
much
latitude, in the
189
way
of
painting
holstery.
graining particularly
as in furniture
and up-
grainer
may
seems a
little
spoiled
No
its
worth
and
That
closest observation
The
reader
is
important fact that these words are directed, not to the experienced and practiced workman, but to the learner, the be-
ginner
not to
teach, but to
;
him who
is
desir-
and the
be
pends for
its
upon the
of
perceptive faculties.
and the
intellectual faculties
190
ulties alone
of the work.
The
work
is
man
As
first
way
of the painter
These are
at hand,
now
when not
may
be ordered from
The
is
but a
trifle,
pound
of the best
retail for
and
finest color in
market may be
purchased at
The
best color will prove the cheapest, not only because of the
greater surface
it
intended to
Cheap graining-colors,
cheap adulterated
The
so
tint of the
groundwork
is
from the
more
of the graining-
Nevertheless,
to
it is
better,
and
time
and trouble,
and
best
making the
GENERAL REiMARKS.
ayerage ground for the various woods.
191
Referring again to
is
an egg-shell gloss
that
is,
just
and no more.
sary quantity of oil be used, the paint will not rub smoothly,
is
They
differ
Some
is
show a tone
of color in
which
yellow
decidedly prominent.
The grain
also
Now,
shown
it
upon a uniform
ground,
must be
wood
presents.
The browner
No two
Of the two
evils,
the least
is
formity.
The
first is
is
the
equal
192
to.
sawed
log,
The work on
.one, as
upper or lower
may
be
that
is,
side,
There
must
and the
same character
be presented on
of work,
all.
The
and
stiles of
and tones
of color.
As
a rule,
when
is
the panels of
combthe
made on
and
stiles,
stiles
generally being
tom
rails
stiles,
which
and similar
in appearance.
this methodical
Inconsiderate persons
may
rashly
;
condemn
arrangement as unnatural
indispensable
it is
to insure a
workmanlike
job.
"With the
must be a
certain uniformity.
No
different pieces
which go
make up
a door or a piece of
Such
carelessin-
would
and disagreeable
congruities.
this
GENERAL REMARKS.
the real
is
193
the grainer
may
give a
of such
sur-
selections as best
roundings
wood
in the
more
beautiful,
and frequently
if
more
costly,
made
of the
natural wood.
best
The aim of the writer, in giving suggestions mode of producing the proper tints and
as to the
tones for
groundwork
the thing as
much
as possible
to
make
plain, not to
the
man
all
The
best
and
is
pure
raw
not the
so-called sienna
which
is
sold
that name, but the genuine article, which can be and should
For maple-ground, of
it
quantity
is
required,
For
light
ash,
darker.
For
oak
more
wanted.
rather
is
in the other
for a too
remedy
194
while a ground
made
lighter.
color.
mended
raw
The domes-
The ground
black.
for black-walnut
may
and
No two
tone.
These instructions
And now,
make
having written
all
something instruc-
we bid adieu
to this subject,
and turn
to fresh fields.
CHAPTER XXXI.
HOW
There
mode
are
TO PAINT A CARKIAGE.
of proceeding to the
many ways
same ob-
jective point,
of treating the
same symptoms.
Coach-painters can
liardly be
when
to
which proposes
No
way
of carriage-painting.
The
it
good because
it is
new
nor
to those
who who
nor
all
which
bad.
The
196
hard to overcome.
pronounces
other,
it
and dogmatically
best,
simply because
tries all
As a
useful
is
in his
ment
in vehicular construction,
it
may
tion
which com-
bine more fully the useful and the beautiful, than the
gracefully modeled, luxurious
first-class city
To
tions
quires a
to appreciate
combina-
and
skillful to
is it
true
if
may
lead to the
the want of
to educate
proper instructions.
As
well
on musical composition,
by
mere words.
workman needs no
HOW
ing remote from
fess
TO FAINT A CARRIAGE.
I97
many
who
pro-
without the
may
mode
of pro-
Of the
new and
shorter
method we
CHAPTER
XXXII.
As
two
used
the priming or
first
coating of the
new wood
initi-
word or
at the start
;
first,
as to
what
it.
and, second,
how
to apply
And
is
whether
it
oil,
boiled
oil,
drier,
and
enough turpentine
to
make
the paint
work
easily.
Apply
bristle paint-
199
brush, taking care to work the color well into the nailheads, crevices, and corners of the body, wheels, and carriage-part.
After the body has stood for four days for dry-
Dry
white-lead,
mixed
stiff
in
oil,
Thin
and
down smoothly.
for drying
and hardening.
all
the holes,
crevices, chinks,
putty,
made thus
White-lead
three parts.
Whiting
one part.
Wet
with a mixture of
Linseed-oil
two
two
parts.
parts.
Varnish
Japan or
gold-size
one part,
When
that
is,
filling
possible shrinking.
be
filled
parts of varnish
knife.
fill
all
wood
at the
end of
200
parts japan
mix
stiff,
be lead,
the application of
which
should be dry lead, wet with four parts japan and one
part
oil.
is
body
is
We
can sug-
gest no better
mode
lowing, viz.
English
filling
two two
parts.
parts.
Dry white-lead
Wet
with a mixture of
Varnish
two
parts.
Japan
Oil
Gold-size
Make
into a
paste,
to a
oil
used in the
The
oil
should be
may
is,
that
The rough-stuff
mill, as
should, of course, be
ground
through the
should
all
the other
nent parts.
The
should be followed
201
and turpentine.
to the
smith's to be
hung
all
up.
places
axles,
put on bands,
The painting
process should
is
The lump
of pumice-stone should be
to pre-
kept well
filed,
vent the pores of the stone from becoming clogged with the
paint.
guide-coat
washed
off
removed from
hours, and
The body may now be left to dry for twentj^-four work resumed on the carriage-part. First, cut
part with No. 2 sand-paper, dust off
as
follows,
and ground
finely
Dry
and raw
oil,
Judgment
if
is
re-
the paint
be too thin, the pores of the wood will remain unfilled, and,
if
too thick,
it
bristle
202
hardening
it
would be well
the
flat
and
all
Putty for this work should be made of dry whitewet with equal parts of
oil,
a square-bladed putty-knife.
Work
the grain of the wood, taking care not to allow any to re-
main on the
surface, because
fall
re-
moved
will
crumble and
away
is
resumed on
that by going lightly over the whole surface with the very
finest
Particular pains
;
and, should
seems to
what
It
will
now
brought the surface to the best possible condition for receiving the
first
coat of color.
no remedy but
203
all
common
as well as the
most important of
It does
the
is
serviceable
and
little
body
and comparatively
adhesive property.
The ordinary
of fineness
which
is
essential to
effects in
finished black-work.
Nor has
ments
any machinery whereby hard pigon which their value and good
working
qualities
much
to the cost as to
entirely.
granted that there are at hand ground colors for coachpainters' use,
left
ready for
color
is
is
to open a
jet-black,
which
will be
Black
ground by means of
finer
this
improved machinery
it
will be
found
incor-
homogeneous
as
though
it
all
one substance.
is
Enough
work
taken from
204:
of
raw
Apply with a
flat
camel's-hair
applied.
is
first
coat of varnish.
CHAPTER
XXXIII.
CARRIAGE-VARXISHIXG.
This
work.
ity, as
is
So
well as beauty
it
behooves us
It is
not for
us to say
who makes
we have
fulfill all
;
it
elastic
down
If
you
may
it
to the
flat
work
in
hand
not a heavy
A
thick,
coat,
with a
badger-hair varnish-brush, of
is
recommended
ment.
for such
work
if
as
is
now
Such
a brush,
age.
But
let
206
which was
time work
over
it
During
first,
this
may
by going
After
this,
:
dust
off
as follows
oil,
Dry
of the latter,
and made
stiff
may
be applied.
In this
no
oil
last lead-coat,
striping
and varnishing,
this coat use
is
For cut-
ting
down
No.
ful to
as it
may
to
no
^^
child's play,"
amount
of rubbing applied to
surfaces, will
;
flat
and rounded
remove
all
down
to the
wood
and, as
these parts receive most of the wear and tear of actual use,
it
all,
CARRIAGE-VARNISHING,
and
tlie
207
nooTc,
loose particles
and
cornier, the
work
is
coat of color.
That
soft
when
first
opened.
Mix
turpentine, using
hair brush.
oil if desired,
flat
camel's-
Ten hours
work
is
will be sufficient to
when
coat.
wide
stripe,
put
this
on before the
coat of varnish.
The
carriage-
first
Leaving
with one
which was
left
coat of varnish,
first
and
it
will be
rubbing.
and
of
and plenty
as closely
use
moldings.
is
trimming-shop.
to the
The
carriage-part
as has
An
in-
to perfection.
If
performed by
208
Supposing
next in order.
If
On
do
much
to be said.
any one
^'
how him
to
of
There
is
no royal road
is
to this
accom-
plishment
its
attainment
long-continued practice.
The
and dry, a
down
nish-maker.
The
carriage-parts,
removed
to the varnish-
room, are ready for the finishing-coat, and the writer confesses himself at a loss
how
to give
of
all,
A
is
To become an adept
and
in this art
self-possession
and,
we may add,
rise in
all
a good conscience.
!
mistake in this
is little less
than a crime
And
only
known and
is
read of
men.
The body
ready for
This,
skill.
209
Eemember
hill in a
misty atmosphere.
Hav-
call
If
body
Kemove
it
to the
ing
wash
it off
broken
in.
Do
dusting
off well,
take a dry,
flat
fitch-brush,
and
dust,
apply
the varnish.
no longer
liable to injury
from
in order
is
The
softened
away
Eemember
strictest
that good
work depends
;
in a great
measure on the
attention to cleanliness
210
^^
Neatness, order,
motto in
every paint-shop.
as finished.
may
stand a
up.
The
bolts, etc.,
first
;
which
it is
destined to undergo
otherwise
it will
it
is
performed,
tend to
will rather
The
finished vehicle
may now
little
in
much
less time,
and have
A great
many
is
would not be
safe to finish
work
for city
wear in
less
method be
adopted.
CHAPTEE XXXIY
THE NEW METHOD.
FOE
vised,
the last ten years ways and means have been deefforts
and many
made,
riage-painting
time.
out in
''
less
enough
for the
times,"
result
at the
same
in
Keeping
mind
to
we
are not
who
deemed necessary
produce a
first-class
and
,
that
is
when
elasticity,
all
off.
In short,
the
mode
we have described
212
ture of a certain
ally curtailed
too
common
using.
If haste
be a
the
deemed
enduring carriage-painting,
mode be
adopted.
If
we
will
system.
*^
to give
own
experience
to
we
man
to his
own Judgment
as to
which course he
ments and
adopt or pursue.
elapsed since
practice, looking to
We
end
in
at a less cost.
ments have,
result.
therefore, tended
As remarked
and Chapter
all-important,
XXXII
the
"priming" being
efforts in the di-
pores of the
wood
well as of dampness.
to
is
intended
resulted in a
cement the surface of the wood. Our experiments have " priming " for first coats upon new wood and
THE
iron,
NEW
any
METHOD.
213
to possessing the
article ever
above-named
painting.
The
1.
The
wood,
so as
priming.
2.
oil
work
3.
in
hand
shall
Dryiug
and the
to a hardness
j^aint,
which insures a
solid founda-
tion,
made
to chip or flake
off.
To
we mean by
It is well
known
hard, lose
its elasticity,
oil.
and hardening,
and
brittle, be-
wood
dry.
this
will absorb or
drink up the
oil
what
intended to do
and
if
after-
grain-showing"
is
effectually prevented
which, in
214
compounded, leaving the pigment dry and nonIn considering this matter, we have not lost sight
now
in use,
which never
bad
as the substance
will absorb
all elasticity,
lecause such
whole foundation, thus affecting the finishing-coat of varnish and causing a broken surface.
It is
at once.
Many
pertinaciously
tried
The
bridge
is
carries safely.
But
to the
modus
operandi.
must be put on
and
left
A
the
short, well-worn
brush
is
it,
and
coat of rough-staff.
Putty on
this coat of
rough-
stuff after
is filled.
old way.
Apply the guide-coat and rub down and finish The carriage - part, coming from the
etc.,
as in the smith's,
and thoroughly
THE
NEW
METHOD.
to the wood.
215
down
Dust
off
part, iron-
work included.
grain, tak-
thin coat is
all flat
best.
Next
places evenly
elastic.
to
but our
j)ractice
'*
has
car-
ency of
color, previous to
sand-papering
this
perfect surface.
By adopting
mode
of proceeding, the
sand-paper will not be apt to clog, and tear up the "priming," and,
if
come
off,
and there
will
remain a
to the foundation.
first
Sand-paper
and apply
coat of color,
made
more
elastic
with
oil
lead-paint.
From
up
to the
same
as the old
method.
new priming."
trial of
the
mode
the matter
any attention.
Every painter
how
painting should be
216
done.
fering.
we have no
The trade
of coach-painting
not to he classed
The
ability to
perform
is
possible completeness
and perfection
man may be
way
justly proud.
in such a
skill,
cunning and
for education
and
taste.
new mode
it,
of carriage-
we would remark
and
cost,
being
all
involved in
the subject
is
CHAPTER XXXV.
PAINTING AND VARNISHING.
are operations
which
are not
we
would
and remedy
for,
the troubles
involves.
We
allude
now
to the trouble
known
as chipping, peeling,
surface of color.
and in the
different
modes
of application
the
;
or
it
will
drop
as the case
may
be
whenever
power of the
or varnish.
If a plasterer should 10
put his
first
coat of mortar on
218
laths
closely in contact
each
particular lath
it
and that plaster should, on drying, drop off, what would be thought of the mason who should complain that the
lime, the sand,
ties ?
and
hair,
finish
sametaking
care to grease
the
first
and
all
final coat,
cry out against the plaster, and on that unofthe blame of his shortcomings
is
The
to set forth, as
failings
lucidly as
may
and particular
and
may
way
The
obstacles in the
work
All
who
are in
the trade are familiar with their several and respective features,
rid of them.
In naming these
shortcomings,
we put them
:
when
Now,
on the part
so
examine
these accidents,
rence.
and,
if possible,
We
are talking of
we may
219
kill it at a
blow
but, unfortunately,
is
one head
ply impossible.
rearrangement of the
the process of painting
evil,
particles.
Weather-changes during
for
and most
difficult to
made
turpentine,
evil.
varnish,
and
driers,
are
fruitful
sources of
part of the
Want of skill and good judgment on the workman cause many calamities rubbing- var;
nish
resin
made
;
to dry in
japans
dammar, or both
and most
undue haste
no
regard to the time actually necessary to properly accomplish a first-class piece of work.
We
failure,
all
the causes of
CHAPTER XXXVI.
EVILS
Ais'D
THEIR REMEDIES.
is
Next
remedy
do
to
We
would
like to present a
so plain that
any
err therein.
How
it,
are
now
the questions.
to be properly
is
most impor-
because
it
is
the
wood
from
first
to last
through
With
it,
under
all vicissitudes
is
possible
without
not.
What
day.
shall it be ?
Not something
As
supposing
may
tion
compounded
the
it
more tenaciously
be placed.
on which
disintegra-
and decay.
oil in
the priming-
EVILS
coat the better
221
supposing
We
is
treat
now
but there
vibration.
If
the key-note be
the
lightning-speed
harmony
there-
with.
Better
so,
than introduce an
elastic
stratum some-
where in the
dation which
layers.
is
way up,
is
will, in
the nature of
This
an every-day experience,
a better theory
wanting
it,
color.
the disaster.
A coat
of the
glass,
same
color, applied to
an old
spoke or to a strip of
But
to return.
Suppose
workman compelled
first
to rush that
work
along, without
giving the
erly.
coat a fair
Making the
and requirements,
of long experience
of lead prop-
is,
we suppose, a man
all
way
Now,
222
^being, as aforesaid,
man
of sound discretion
use
an
elastic varnish,
and
so
such circumstances.
out,
finished,
and run
and put
wear and
tear, will
show
what
is
result
It
may
more
^like
stony ground
it
all
too soon.
The
fact
must not be
as
in
almost every
time
is
an element which
On
the contrary,
must
receive its
heeded
will
end in
disaster.
If the
may accom-
plish his work, he should at least have the grace to put the
blame for
failure
where
it
worse, on the
last
We
is
be-
lieve the case of the captive children of Israel has its parallel
in the carriage-trade,
often-
Egyptian taskmasters.
To make
sun-dried bricks
human
ingenuity
beyond the
skill of
223
mundane
sphere.
What
conglomeration
may
be equal
!
we
*
shall
know
is
up a
carriage-part, keepit
should be.
required
to
do
this
job in about
case,
there
must
of
necessity be masses of
around
clips,
No amount
details of
work
to dry,
no care in the
were,
from
riage
their resting-places
is
and dropping
when
this car-
CHAPTER XXXVII.
CLEAVING OF VARNISH FROM THE COLOR.
The
next most
is
common and
vexatious
trouble with
This
existed,
we sup-
Some
lows
merated here
:
we do not
oil
as
fol-
Cotton-seed
tity, is
made from inferior shellac, mixed with other and cheaper gums color mixed with japan, varnish, and oil, when the due proportion of each is not properly atflake
; ;
tended to
stances,
fatty sub-
whether turpentine,
or paint
certain rubbing-
made from
These are
unsuitable
among
If
No
A word
ground
now may
be pertinent.
you do use
mind the
225
all cases
oil.
No
doubt, trouble in
many
the painter has never fully appreciated the fact that varnish,
oil,
shellac, japan,
so
mixed
as
to give a surface
which no rubbing-varnish
There
Really, too
much
rarely,
gives trouble,
if
proportion.
glassy surface
reduced
to a "scratch -coat"
pumice-
The
less
is
deprecated, un-
driers will
work
must never be
oil, driers,
All paints,
as
air.
all
If
not, he
man
or boy he
may have
pitting of
By
many
as
whole
mav be avoided.
226
Now we come
wherefrom we
we claim
;
degree
that to use
them
of ready-prepared
colors.-
and uniform
need
may
is
one third
less
than before
to cover
up a sanded
surface.
is
The claim
lessened
is,
of painting a carriage
colors,
much
by the use
consumed
in the job.
This
is
a feature
which we would
call
manu-
money
ob-
for materials
is
in a measure intangible
difficult to
^less
and count.
false
too,
economy
a '^penny-wise" policyexhibited
too fre-
227
We
common
name
to those
In too
many
trouble to learn, by experimental test, whether the nominally cheaper colors are worth as
much
as half, or only a
;
but rushes to
must
of
There
is,
from the
consumed on the
trifling,
finish-coat of
is
very
and that which works best and covers the undercoat most comj)letely, everything else being equal, is the
cheapest at whatever reasonable price, because of the con-
Any
sane person
hundred pounds
pound.
The
pound
difference
between an
article that
we
think,
pose you have been using a certain black, and have found
to be uniformly fine, of
good body
always
it.
working and
number
of hours allotted to
In the
strife
and
you
228
^bearing
this
fail,
is
Of course, in using
to
if
it
One pound
riage-parts.
two light
car-
is
an
important item, there yet remains the fact that the greatest
possible
five cents
may
Again,
viz.,
there
is
the
only by time
economy
is
common
in the
is
but there
are,
and always
short-sighted individuals,
who take
the
name
CHAPTER XXXVIII.
HOW
Havikg
we take
it
detailed
somewhat
much
so
to speak
in
which
it
and money.
in-
The demand
for
is
and
all
steadily ex-
places where,
made and
painted.
Admitting
all
is
to the trade
made
colors.
230
and
set forth
it.
what we have
wealth," we
somewhat
trite
just
amply
sufficient to
This point
sufficient turpenall
then cover
with the
top of the can, and put away carefully for future use.
We refer
With the
themselves.
We
take
it
In thinning,
stir till
first
the whole
Do
once.
any
then pour
it in, little
by
little,
cup
shall present a
smooth, even
mass, giving
color
its
it
The
In
the
if
now under
consideration
it is
is
suj^posed to be black.
present state
less
This same
would crack
to pieces.
is
To
supposing the
workman
HOW
soft underneath,
231
to the color a
dry
not
The present
case,
haste,
of operation
is
is,
of color only
on a single day
;
which
in our judgment,
raw
linseed-oil.
As
and
this coat
may
Yet we claim
that, for
many
reasons,
un-
varnished overnight.
Black,
if
described proceedings
paint
it
to dry overnight.
Next mornit,
ing, let
him draw
and in an hour
all.
is
on the
stripe let
him
varnish over
This
not
This
why
left
a course
painter,
however
232
hard
all
the
way through.
yet
we admit
jobs
to
look at
have
Such
not endure as does work where time has been duly given to
all
the processes.
complaints because of
this,
we have
own
convincing.
fifty
We
or
more coach-painters'
way
body-colors.
It
is,
men
ground colors
to such
Yet there
are doubtless
many
who would
way
of
In
start.
all
Therefore,
we would have
:
all
this
important truth
the
HOW
ground
233
he as close
ing as possible.
point, although
we
we are member
To
to
those, however,
who would
take excep:
we would put
a query
Would
you attempt
We
then,
to
produce a
which
is
the lakes
itself,
requires a
all
rich
can there be
any reason why the same rule does not hold good with
glazing colors
principle,
?
clean,
To
this
of pure
spirits of turpentine,
stirred in
and
re-
TMs
must be
is
Then add
oil,
as
much
raw
varnish,
by standing overnight.
After the
working consistency.
It
must work
If the
freely
and flow
be
perfectly.
much may
lost,
234
Avitli
One
coat of color
and one
;
of
upon a
carriage-part will be
enough
but
Another mode of
^wi the color in varperhaps, the
is
to
This
is,
mode
which, of
must be
and
clear.
or color,
will
CHAPTER XXXIX.
ADULTERATION AKD WASTE.
The money
enormous
is
greater, perhaps,
than in
all
Our
only equaled
:
economy.
For example
painter will sometimes speiid the time and exertion necessary to walk a mile, all for the purpose of purchasing a
less
it
for under
and
care
fin-
up and take
is
whatever paint
may
ished.
sarily
Now,
cleanliness,
amount.
Another absurdity
When
will
men
may
briefly
The
docly
greens are
236
chrome
colors,
as a rule.
of a dense
body
and covers
and conceals
all it
A
it
pound pound
to consumers,
and
at this price
that a
of this color,
under
own proper
so-called
Listen
The
chrome-green" of commerce
simply
silica,
sulphate of
in proportions varying
color to five
from (the
best), say,
one pound of
of color
pounds
pound
and
and
all is
is
sold as chrome-
Now,
in
oils,
which
transparent
when
mixed
What
not sand
ivith the
ment
consumer pure
Some
idea of the
may
be
had by
impart
reflecting
its
it will
to resem-
237
for
when
it
spread upon a
piece of glass,
proposition.
we
it,
signifying that
it
japan.
It
We
looked
and found
;
it
its origi-
nal contents
but of
was
there.
One
of a little black,
had dipped
into
it
pits or holes
were
left, unfilled, to
manner.
We
dries
asked the
hut
it
up
so ! "
The utmost
I
care
CHAPTER
XL.
The
late
years become
an
evil
as
to
work out
its
own
The
grown out
of a disposition
on the part
profits.
scrupulous
for his
sellers,
to give
him more
money than
worth.
It
beyond
would
in the hope
of saving a half-dollar
on a gallon of varnish
?
Would such
paints
of
it is
a case be a novelty
so difficult of detection as to
article
carmine.
In a color so expensive
single
ounce in a pound of
this expen-
than
is
who
sell it
pure at
first
hands.
skillful
Nor could
by the most
239
The
clieat
color,
remedy the
evil.
In carriage-painting, immediate
The
carriage- work,
to the requirements
of the trade.
They
it is
possible to
make
is
them
in the paint-shop, for the reason that a specialty of this business with
made
To
:
illustrate the
convenience
in
Two
or three
new spokes
to presuffi-
colors ready
The
color
mixed
mill.
is
to
match on the
stone,
through the
changed, and
no longer a match.
may
not be
dis-
The
result
is
general dissatisfaction
but, suppose
it
to
have
been discovered in the process of grinding, the change involves an addition of various colors
:
is
the result
is,
two
way
Had
ground
240
made
stock,
material,
may
does not
is
not always
done by that
workmen.
often intrusted to
;
and, in
may
new
cer-
body
is
an ordered job
on a
tain day.
than a crime.
Time is limited, and a mistake now is little less The paint-shop is short of hands. The foreman, driven with other work, finds just time to mix the
it
and
enough
The
day
is
a hot one.
to be
^^
^not
he
mill,
gives
the
in
is
at
Leaving the
which he
color,
neglects to clean,
and
ward
241
but there
is
no time to grind
fine
a fresh
and
tlie
in a week.
presented with a
stands
coat of
till
well,
next day
or,
pearance.
Do
?
paint-shop
Ground
all
and
economical, for
convinced.
these complaints.
use,
because they are finer than any other colors, but because
flat
more
perfectly,
any
others.
Mindred painters
the shop
thirty
cents as the
maximum
we
think
Ave
may
on
tlie
score of
economy
CHAPTER
HOW
TO
XLI.
A
of
PUKE black
The presence
when black
is
it
of color
which would
result
medium
For example
black,
medium
greenish hue
number
of coats of clear
of the black.
So with white
from
less
its
purity
more or
impure yellowish
light.
colors.
by a coating
of yellowish translucent
HOW
TO
BLACK.
243
of these accidents,
possible in carriage-painting,
we suggest the
application of
last
We
of
any
city
establishment
of clear
now more
and
on the ground
is
is
colored.
It should be
flected
shops.
The
principle
the same
in carriage-painting
to
light
must be
reflected,
it
a depth of continuous
To be
mode
rial
it ?
;
of proceeding
is
Black should
be. put
on in one coat of
more or
244
less of
up
to the
finishing-coat,
which should be
its color,
clear varnish.
In this mode
it is
is
Any
se.
car-
It
only
when placed
is
in
;
inferiority
apparent
strive to excel in
tions in
any
particular.
*'
Excelsior
"
is
a good motto
for coach-painters.
THE
EN^D.
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